Content warning: this review contains references to sexual assault
★★★★★
“It’s just a show,” I have to keep reminding myself during Rodney Black: Who Cares? It’s Working as rising “comedian” Rodney Black blurts out misogynistic comments disguised as jokes. I didn’t know it was possible to thoroughly enjoy watching something that made my blood boil.
Written by Sadie Pearson and brought to the Fringe by Full Frontal Theatre, Rodney Black: Who Cares? It’s Working is an exploration of cancel culture and free speech within comedy. In a world where controversy leads to more online hits, which ultimately lead to more money, Rodney Black (Ben Willows) and his manager (Bertie Taylor-Smith) are jumping on the bandwagon. What starts as a mildly controversial set that earns a few titters from the audience, turns into a highly offensive and insulting routine that leaves us gobsmacked. He quickly garners attention from the press—not all positive, but his manager is convinced all press is good press —and fortune seems to be within his reach. But when Rodney takes a joke too far, and a fan commits a violent attack almost exactly as he described, his career is threatened.
The presence of Woman (Merida Beasley) on stage is a reminder that this is a political statement about misogyny and free speech, and not really a “comedy” show. Her facial expressions mirror what we’re all thinking: total disgust and horror at his comments; silent fear worrying about the impact he is having; and wide grins at his downfall. She is a captivating performer, skilled at silently conveying even the smallest changes of emotion. She liked Rodney too once, when his sets were still angry but less controversial and graphic, which shows comedians can still build a fanbase without having to be shockingly offensive. Her narrative, about a woman who was brutally attacked and murdered, doesn’t make sense at first, but as the show goes on, it falls into place, and paired with Rodney’s, it becomes a very powerful show.
We don’t know whether Rodney is portraying a character on stage, or if he really has those views. At first, he is almost likeable, only ramping up the controversy at the request of his manager, but nearer the end, the lines are completely blurred. This is best demonstrated by his pure rage at being turned down by the Woman, and his determination to get drunk and meet multiple women at clubs. The inclusion of this is a stroke of genius, as it shows we cannot necessarily trust that comedians are just putting on an act.
Rodney Black: Who Cares? It’s Working is a biting and sharp play that draws attention to the dangers of controversial comedy without feeling preachy. However, it is not for everyone, and the extremely graphic descriptions of sexual assault may be triggering to hear. Despite this, the highly skilled actors deliver important messages that you’ll go over and over again in your mind when the performance is finished—exactly what good political theatre should do. Full Frontal Theatre are definitely ones to watch in the future.
Rodney Black: Who Cares? It’s Working will be performed at Gilded Balloon Patter House – Nip until 25 August as part of Edinburgh Fringe.
Words by Ellen Leslie
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