Scott Turnbull, son of the eminent creator of Edutainment is back again after an awfully short grieving period following his father’s death. Behind the cheeriness of Scott’s edutaining songs about “r-r-rising sea levels” and youth disengagement is the painful reality of a mourned relation, but more pressingly, the new corporation that has acquired his father’s company. All he wants is to spread his father’s love of Edutainment, but the Wilkes Booth corporation are having none of it.
Using doodles on acetate, groovy dance moves, and “tufty” badges (that may or may not entitle you to free entrance into the Tee Valley Projection Club Museum), Scott inaugurates us into the world of Edutainment. We learn about rising sea levels in lesbian love-caves, lesbian bunnies moving to different countries, but most of all Scott’s passion for edutainment.
However, the big boss at the Wilkes Booth corporation is having none of it. He argues there is too much “tainment” and not enough “edu” in Scott’s classes. We feel Scott’s anguish along with him, the terrifying prospect of losing your job in this economy? Unthinkable.
The show is natural and spontaneous but at times the lack of structure in Scott’s storytelling leaves the audience feeling baffled, unsure what story-line is where. As a younger audience member, certain pop culture references did not register and much of the humour of the piece relied heavily upon these references, making for some easy but cheap laughs.
It is unlikely that anyone other than Scott Turnbull could have successfully carried off what is, in essence, a class like any other. Turnbull’s wide-eyed innocence and belief in the cause of Edutainment feels genuine and heartfelt. The interludes of his late father’s voice that punctuate the piece are oddly some of the most powerful moments of this otherwise light and wacky comedy, creating a satisfying depth to the piece.
Turnbull’s charming drawings illustrate his stories, at times even incorporating the audience members themselves into them. Every illustration has either detachable hands, wiggling pupils, and lolling limbs. By entering into the room, each audience member becomes subsumed into a doodle world and leaves feeling more playful for it.
Surreally Good is running until 31 August in Former Women’s Lockeroom at Summerhall. Buy tickets here.
Image credits to Chloe Nelkin.
