★★★★★
TW: Childhood Sexual Abuse, Alcoholism, Voice Hearing
Wow, wow, wow!
Produced by the Slow Theatre Company and performed by Louise Delaluz and Gabrielle MacPherson, Alice explores one woman’s struggle to reclaim her own identity when she reflects upon her troubled past. It combines fine acting and audience immersion, with the use of headsets, and poignant real-life commentaries from child abuse survivors—making this a sensationally ground-breaking piece, that will remind you what the Fringe is really all about!
It centers around Alice, who on the eve of her 50th birthday sets out to confront the trauma of her 10th birthday—which is where she began being sexually abused. The show then begins with Alice’s birthday celebrations where she confronts her trauma and faces up to her painful childhood—in front of her soft toys and a doll named Milly.
It becomes clear early on in the show that Alice is mentally unwell. She behaves erratically and is talking to someone who the audience cannot see, whilst she is painting. Then, rather cleverly (and smoothly), Delaluz breaks character, informing the audience to put a headset on, so we can immerse ourselves into Alice’s state of mind. At this point, Delaluz starts the show again but this time we hear the voices in Alice’s mind, ourselves, through a headset. This is a skilfully creative technique that makes the first ten minutes of this show so excitingly cinematic.
Now, fully immersed into Alice’s traumatic reality, you put the headset aside and delve further into her story. We discover that she struggles with alcoholism and various mental health issues. However, this show is a masterclass in the motto “show don’t tell”, in the sense that we don’t know why she is so damaged straight away—it comes gradually.
Delaluz is a dynamic performer. Sshe manages to effortlessly shift between Alice as a child and as an adult. This reinforces the character’s complexity and showcases what an extraordinary talent Delaluz is. MacPherson plays the role of a delivery driver and a smart meter installer; she is faultlessly strong in these supporting roles that act as clear indicators and instigators to Alice’s declining mental wellbeing. The inclusion of real life survivors’ stories not provides the perfect opportunity to self-reflect on the show’s content.
Delaluz is also a polished physical performer too. Her movements and timings match every single line of dialogue—seriously impressive! The moment where Alice relives the first time she was abused is choreographed and executed with such sensitivity, from the lighting to costuming to the dialogue. It could have easily been clumsy and of poor taste. So, kudos to the show’s whole team, who take care of the audience from start to finish.
This show has the perfect ending. Not only do we see Alice somewhat healed but in turn we as the audience are somewhat healed. We are informed that Alice is celebrating her birthday with actual friends and we get to hear all of her birthday wishes—implying that Alice has managed to have good times as well as bad times. It moves away from typical narratives centred around childhood abuse, reinforcing that Alice is a survivor, not a victim.
Alice is one of the most stunningly executed reclamations of power you will see, not only on the Edinburgh Fringe, but in contemporary theatre. It is a profoundly raw and emotive story about childhood sexual abuse as well as healing your inner child. It manages to break your heart but then piece it back together again due to its reflective dialogue and Delaluz’s beautifully resilient storytelling—it’s a must see!
Alice will run until 23 August at 236 Ivy Studio at Greenside @ George Street as part of Edinburgh Fringe.
Words by Cory Gourley
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