Acting Speaks Louder’s electric youth brought their adaptation of 17th century Swetnam The Woman-hater to the Edinburgh Fringe with such energy that you couldn’t help but want to join them onstage. There is a level of intellect in the way they blend music, comedy, history, and contemporary feminism with just three people on the stage. From the moment Nuala Sankey and Grace Florence deliver their first lines, it is clear that the piece is going to be incredibly dynamic. The pair play multiple roles throughout and demonstrate this change through a minor alteration of 17th century accessories.
Sankey plays the handsome Lorenzo, a lady in waiting, and a jester all distinguishable by her clear gestures, vocal changes, and use of physical theatre. She really was outstanding as an actor and displayed such a huge range of her capability. When she came into the spotlight to deliver an aside to the audience, her face was acting enough on its own to show which character she was- accessories, vocals, and body language aside. It was a really tremendous performance. Grace Florence delivers a convincing performance in the straighter, woman-hating roles of the show. I found her characterisation slightly less distinctive, though I enjoyed the pair’s proxemics.
One thing that become confusing for the audience to keep up with, however, was the fact that father and daughter, who live in the same court, have drastically different accents.
Zach Chung must get a mention. When Sankey, as the jester, interacts with Chung initially, he could’ve lent into the acting more and hung back a little. However, when Sankey realises that two of her characters are meant to have a conversation, using musician Chung as a third actor was a marvellously creative and funny idea. His acting was perfect when invited, but I think he should’ve been more forthcoming with his acting earlier on in the show.
The gender-based rap battle that takes place in the courtroom is fantastic. Chung plays his part well and lets Florence and Sankey challenge each other to a beat. Both actors deliver their rap with such clarity that even though they were both still in character, the audience could hear exactly what they were saying. I thought that one rap, however, was enough and that the second couldn’t live up to the surprising brilliance of the first. Nonetheless, alongside quotes from Andrew Tate and other Manosphere influencers, the rapping really brings this production into the 21st century.
Wherefore Art Thou, Woman-Hater? ran until 22 August at Stephenson Theatre at theSpace at Surgeons’ Hall. Visit the Acting Speaks Louder website here.
Image by Annika Gu, provided to The Student as press material.
