THERE is a reason why this stupendous show received rave reviews at the Edinburgh Fringe and had a sell-out run.
The talented Natalie Palamides has brought her solo stunner to the Soho Theatre in central London throughout the month and offers up something truly unique. The one-woman show revolves around two lovers who break up on New Year’s eve in 1999. Through flashbacks audiences discover how they met and, in a flash-forward, what could have happened had they stayed together.
But what makes this show unique is that Palamides plays both roles, with a split look of a distinctly female and burly male character. She skilfully and swiftly turns to the side for each part. That stage mastery later includes costume changes, the use of props and awesome audience interaction, where some are made part of the story. Not surprisingly, proceedings gradually become chaotic and cartoon like, which adds a further layer of entertainment to Weer and makes it a compelling watch.
There are loads of great pop culture references, including popular rom-coms, and a wonderful choice of musical numbers. The way she uses the various simple props to create an immersive world also works wonderfully well. The show’s heartbeat is a brilliant central performance from Palamides, which includes distinctive characters that keep the audience fully engaged. The simple set design works well, despite all the chaos that is going on.
Those who are able to look beyond the comedy will also find meaningful messages that most couples will relate to. The extended battery of false endings is perhaps the only weak point of this play, but those who become fully immersed will like what she has created.
It’s ultimately brash, brave and beautifully performed by a world-class talent, and that originality demands it gets a perfect five.
