Pramkicker - Theatre Review

 The Hen and Chickens Theatre, London

★★★★

                            Photo: Marie Drisch

The first thing that needs to be noted about this performance is its unapologetic nature. Two sisters come onstage and let it all out. And when I say all, I do mean all: anger issues, awkward interactions with exes, existential crises about motherhood, sexual assault. This production doesn’t shy away from uncomfortable topics or traumatising events and we’re swooped up in the whirlwind of the modern female experience.

It all starts during an anger management session where we find out that Jude, played by Amelia Mazurek, was involved in an incident which resulted in her kicking an entitled mother’s pram (no child was in it, of course) and putting said mother in a headlock. Her sister Susie, played by Emmett Hughes, sort of tags along for support, contributing here and there to make sure that Jude doesn’t leave out important parts of the story. During those sessions, we learn about the two protagonists’ relationship as siblings that reunite after years of being apart and about their individual personalities.

Jude is fearless and blunt, knowing exactly where she stands regarding having kids and starting a family. Absolutely not! She can’t stand the idea and never misses an opportunity to express her strong opinion on the matter. Susie is more than happy to join in her sister’s angry outbreaks and tries to get to know and understand Jude, while also figuring out her own journey on the topics of motherhood and adulthood.

This explosive, yet wholesome relationship between the two sisters, who fight, drink, laugh, provoke and listen, creates an honest space that urges the audience to look within themselves and reflect on their own beliefs and relationships.

As a bonus, we get to meet some other interesting characters dealing with their own baggage, played primarily by Hughes, who experiments with different accents and physicalities to deliver a hilarious multi-rolling masterclass. Mazurek’s defiance of what society expects of her, solely because she is a woman, is resonant and well-rounded, with moments of doubt, confusion, but ultimately with a determination to create her own path and face whatever that brings along.

The set fits the provocative nature of the show in a clever and hilarious manner, with strings full of dolls and colourful tinsel curtains hanging in the background. This is a constant reminder that things are not black or white, in this case pink or blue, but rather a territory that each of us needs to explore on our own terms.

Director Eve Lamb has done some marvellous work with the actors and the pacing of the show, complementing fast paced and energetic scenes that leave you breathless with slowed down ones for some beautiful moments of bonding and vulnerability.

It's an exciting production that will leave you feeling lighter, yet empowered to challenge notions that are deep-rooted in our society. And follow Jude's iconic example: Je ne regrettay fucking rien