Co-created and Performed by Jude Williams and Natasha Gilmore
Directed by Ben Duke
Review by Hunter King
Most people know a woman of a certain age whose style has adapted over the years. It may be a mother, auntie, or even a friend. They may try adding colour to their daily wear, or get wider rimmed glasses, they may even try some thicker, chunky jewelry. Barrowland Ballet examine that rite of passage in their plurimedial show, Chunky Jewelry which performed in a one night only event at the King’s Theatre this week.
Natasha Gilmore and Jude Williams share the stage as two friends proposing an idea for a show that is representative of their life. Through a series of short segments, each having its own distinct personality, Gilmore and Williams recount the beauty and the horror of being single mothers and becoming “women of a certain age.”
The show, directed by Ben Duke makes efforts to explore the narrative in Gilmore and Williams’ lives through different media, combining dance, spoken word, song, foley, and more. The tone of the show also shifts drastically between violent and lighthearted, tragic and comic.
It is worth noting that neither Gilmore nor Williams have a completely polished performance, with some notes squeaking out of tune or some turns not quite making their full 360 degrees, but in the imperfection lies the beauty. Chunky Jewelry is a deeply human show that undoubtedly captures an audience’s attention and pulls at their heartstrings. It is theatre like this that is rare and life affirming. Even whilst experiencing a tech issue that required a show stop, the connection to the audience continued and nothing was ever lost.
Moments of special charm include Williams’ rendition of the Carole King classic, “(You Make Me Feel Like) A Natural Woman,” which in context changes the trajectory of the song in a meaningful way. Gilmore stands out throughout the show, exuding extreme energy, which culminates in a dance that finally sees her receive the crown that she and Gilmore claim they deserve as they “are queens now.”
The show itself is quite intimate, which makes sense, having been designed for the Fringe a few years ago, but some of the overall effect is lost in the overbearing space that is the King’s Theatre. Gilmore and Williams work well within the space, but sometimes, especially in moments like when Gilmore is shouting for help, it feels as if they are playing to the void, which is not quite fitting for this specific production.
Overall Chunky Jewelry is a testament to motherly sisterhood, despite also being about extreme isolation. It is about the embrace and defiance that come with aging and dealing with the interpersonal and societal expectations of women. Gilmore and Williams execute the show in a way that feels the audience can see them in their truest forms, even if those forms are imperfect. Similar to how Jane Horrocks sings the titular song from Cabaret, the show has grit and isn’t scared to be ugly at times if it means addressing situations in the most real way they can.
An Embracement, A Defiance
Chunky Jewelry was performed at The King’s Theatre
Running time – Ninety-five minutes without interval
Photo credit – Barrowland Ballet
Review by Rose Sarafilovic (contact@corrblimey.uk)
Hunter is a 2024 Master’s graduate of the University of Edinburgh and current doctoral candidate with a thesis focused on experimental theatre in Edinburgh. He has been a theatre practitioner for over a decade having worked in many capacities including as a director, actor, stage manager, front of house manager, and technician as well as others. Prior to moving to Edinburgh, Hunter was a high school English teacher in the United States. His passion for the written word as well as his passion for live performance are what motivated him to become a writer for this publication.
