Written by Emma Lynne Harley
Directed by Becky Hope-Palmer
Review by Dominic Corr
Scissor Kicks, here in partnership with Siren Theatre Company, are doing something which is mightily required right now: championing independent artists and holding their wellbeing in strict regards. It enables shows like Walking on Eggshells, and the recent Jackals to premiere at venues like Paisley Arts Centre or Summerhall. Shows which stand apart from many of the mainstream venues, production companies, and similar ilk in the peripherals. In the case of Emma Lynne Harley’s Walking on Eggshells; survival has been given a unique twist of theatrical celebration, and insight, into navigating relationships with PTSD, following the end of an abusive relationship.
It is, like an egg, raw, with a membrane of protection for its audience and artist. It has a golden core of richness and intrigue; and a surrounding puddle which provides structure and support (and A LOT of cracking lighting). But like all starting omelette – there’s a few crunchy bits of shell left in the dish.
Far from the usual black-box aesthetic of the Summerhall Techcube, Harley instead emerges in colour and concept; glitter, sequins, and a palette which would make Vegas blush. It’s a bright show, vivid, and playful thanks to Alisa Kaylanova’s design work – a perfect dramatic contrast to many of the production’s discussions on abusive behaviour which our subject, performed by Harley, opens up about. From their first dealings with ‘true love’, and coercive behaviours from a young age, shifting through to a more central experience with a then-partner; and the experiences have mingled in with queerness, disabilities, and creative consults over many incarnations into what it stand as now; a proud smash-up of cabaret, comedy, theatre, and song.
Anyone familiar with Harley’s work as a vocalist, and their cabaret talents, will no doubt be expecting the show’s more performative elements. All of which are delivered with swagger and attitude – and very much secure any nerves which might be fluttering initially. But they aren’t just there for show; number choices have stark reflections on our attitudes with love and sex, as does the choreography, and our commodification of exes and glossing over of the impact they have on us; as much as Harley is delivering entertainment, there’s sentiment too. And purpose for sure.
Utilising the production’s accessibility as an integral part of the storytelling mechanics, that of an almost educational walk-through of our ‘subject’, Harley (with a couple special guest stars) struts us through the inner-goings of an abusive relationship; the fallout, the trauma, the healing, the expectations of healing, and the disappointments when, frankly, it isn’t all as straightforward as the self-help books want you to think. With integrated captioning as a slideshow/classroom board, and with every performed being conducted as relaxed – the accessibility is paramount, and in keeping with Harley’s intensions. A lesson many productions could benefit from.
At its runny yolky core, Walking in Eggshells, even with Harley’s solo performance and commanding vocals, is a communal show; and its clear. Its cabaret spectacle (and cracking costuming) all has input, as too does the sound design from Laurie Black; which has a firm a command of comic timing as Harley’s delivery. Where the shell could do with shaving, is a complicated matter – as much of the brilliance of the piece, is where some of the breaking down and trimming. Harley’s script is profoundly personal; as it should be, and a lot of the references for sci-fi, celebrity culture, song choices, and puns all land – but on occasion they trip the momentum. Like Moffat’s time as Doctor Who’s showrunner; there’s a lot of spark here, smart and witty, but occasionally the writing could be streamlined and the pushed references downplayed.
This is theatre we need right now. It is chaotic, but confrontational and articulate. It’s honest and genre shattering; with a vein of self, but not alienating. Walking on Eggshells isn’t perfect; but that’s part of the charm and purpose, both in its debut, and as an integral part of the show’s reflection on how vulnerability can coexist with joy, love, and a truckload of glitter. Cause really; what the fuck is perfect? A cabaret eggstravaganza which tackles big concepts and feelings, with even bigger themes and consequences; rebuilding something after devastating and long-lasting trauma; it’s a show to be proud of, and support.
Walking on Eggshells runs at Teachcube at Summerhall until May 16th
Running time: One hour and ten minutes without interval
Photo credit: Mihaela Bodlovic
Review by Dominic Corr (contact@corrblimey.uk)
Editor of Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
