Innovative and heartfelt, Emily Weitzman’s Furniture Boys is a box full of surprises.
This show is a one-woman absurdist production that ruminates on the unexpected link between boys, past relationships, and furniture. I must say at first, I was mostly focused on the incredible and eclectic collection of different sized chairs arranged on stage.
Weitzman opens the show with the performance of her 2012 slam poetry piece ‘The Couch Poem’ and slowly descends into an array of witty puns setting the scene for this comedy. She gestures to a lampshade she names Liam, describing him as someone she once thought was intellectual but later reveals she never thought he was that bright. Beyond the clever word-play, what I admired was the variety in the production of the play which involved several intervals of dance and clowning, Édith Piaf’s ‘La vie en rose’ was played, which contributed to the show’s atmosphere of romantic satire.
While I must admit at times Weitzman’s script felt slightly on the nose and it may not have been the humour for me, I can absolutely understand the enticing nature of this show and its return to the Edinburgh Fringe. Weitzman takes you on a multidisciplinary journey of theatre, comedy, clowning, and spoken word which accumulates to a layered and intimate exploration of her identity, her past and her perspective of her own art as a result. The direct address to the audience and intonation of Weitzman’s performance demanded a watchful eye — I would recommend this show to audiences interested in any performances with a strong creative conception. The heart behind the show is definitely where the strengths lay in this performance for me.
Furniture Boys is running until 30 August at Jersey at Underbelly, Bristo Square. Buy tickets here.
Images provided by Underbelly to The Student for press use.
