The creation of this eye-catching, wit-soaked, taboo-popping piece of contemporariness was a brave moment in the artistic spheres, but glad I am that RCS-trained Johnny Knight made the effort. Last week I saw a great piece of Dance theatre from wheelchair-bound Catherine Bowditch, & this week – unwittingly I might add – I found myself watching Wendy Hoose. ‘I’m sure that girl has no legs,’ I thought when looking at her as she lay in bed, clad in sexy lingerie awaiting her tinder-summoned one-night-stand. ‘Her legs must be under the bed in a secret compartment,‘ I thought as the covers were whipped from her in shock by said tinder-fellow after he found himself groping thin air. ‘Fu*k, she’s got no legs,’ I thought as she began to move about the bed on her arms. This was real life. Suspension of disbelief had no place in this theatre.
Wendy Hoose, by production company Birds of Paradise, is a true triumph of modernity… the OBP (obama-becomes-president) of the early 21st century that breaks through our Victorian thespianity. Bristling with the comedy forged from the bantering of Paisley folk in full flow, & flavoured with poignant touches every lover can relate to, Wendy Hoose is a wee Weegie masterpiece. Performed to sign-language, which appears as a TV in the bedroom, & with an audio description inbetween the dialogues, Wendy Hoose can be enjoyed by anyone… able-bodied or no. It pushes brusquely at our inbuilt social restraints until they snap & fall to the floor like the shackles of suffragettes, leaving all who observed Wendy Hoose a little wiser, & a little more liberal… an effect very few plays, or playwrights, could ever achieve. As I upped from my seat at the final curtain, a fellow in front of me piped up, ‘that has restored my faith in theatre,’ – which just about says it all really. FIVE STARS
Reviewer : Damo Bullen