Liz Kingsman – One Woman Show at the Soho Theater Review: Do whatever you can to get a ticket


You can hear the buzz as far as Buckinghamshire and beyond. It’s not often that a relatively unknown becomes a topic of conversation for comedy connoisseurs so quickly, but Liz Kingsman, best known as a member of the iconic sketch group Massive Dad, is making waves with her devastatingly inventive solo debut One-Woman Show.

A few minutes after a performance that spans stand-up and theater, and that’s already outstanding. The introductory monologue quickly shows how structured and multilayered this piece is. While Kingsman speaks politely about being risky, sexy, and having agency, and not enough women to tell their stories on stage, she’s likely being sincere and sardonic at the same time.

The main reference to this character-based work is Fleabag, which happened to have a preview in this location before it became a phenomenon. Kingsman shamelessly parodies the nameless personality of Phoebe Waller-Bridge and frequently breaks the fourth wall while playing an anonymous Londoner who works for the Wildfowl and Wetlands Trust, mostly looking at ducks on Instagram and a bit of marketing.

This narcissistic creation is a relatable modern metropolitan woman. Commuting with her Monzo card, clubbing, drinking, a little manic pixie dream girl still hanging out with her college beast who always has a roll up on the go. It’s a painfully accurate depiction of the tropics that everyone should recognize.

Kingsman shamelessly parodies Fleabag

/ Will Bremridge

What follows is a fun, whistling stop tour of Kingsman’s Every Woman trying to bring her life and loved ones together. Make relationships, try to be spontaneous and chaotic because after all, television, film, and literature tell us to become more attractive, don’t they? It’s a breathless, glowing, pitch-perfect comic book critique of contemporary archetypes and modern manners.

In addition, there are verbal and visual laugh gags, interpretive dance, unexpected poetry, ice cream and a meta-self-referential setup where you are never quite sure what is planned and what is not in the script and you have something quite unmistakable. The only two youngest comedians to be genre mashing are award winners Jordan Brookes and Catherine Cohen.

This is social satire at its finest, which more than lives up to expectations. Someone obviously didn’t waste their downtime on lockdown. Additional dates have just been added but will no doubt sell out soon. Legally do everything you can to get your hands on a ticket.

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