A thoroughly original, illuminating and sometimes humorous take on a challenging topic, delivered with flair by its star. Summary
Rating
Good
Tackling difficult and often overlooked topics on stage is no small feat, but Fluff approaches its subject matter with a mixture of sensitivity, playfulness, and creative storytelling. Written by Tayla Kenyon and James Piercy, this one-woman show sees Kenyon taking on multiple roles to guide the audience through an unconventional but thought-provoking journey centred around dementia and family trauma. If that sounds like a recipe for a miserable night out then I should clarify that this script skillfully handles the subject with not just sensitivity but great wit and humour as well.
At the heart of Fluff is Kenyon’s ability to embody a variety of characters, shifting between personas with clarity and energy. This is no easy task, yet she manages to craft a cast of figures that feel distinct, engaging and surprisingly multi-faceted. The script weaves moments of humour into heavier themes, ensuring that the subject matter remains accessible without diminishing its emotional weight. Kenyon’s performance is both lively and committed, successfully holding together the piece even as the story unfolds in a non-traditional way. She clearly revels in playing the mother, though it is some of the minor characters towards the end that really draws me closer with her very nuanced portrayals. I walked away in awe at her ability to tell this story in such a complex way, single-handedly holding our attention for 75 solid minutes.
However, while the show’s premise and execution are creative, the production sometimes feels somewhat home-made. One of the challenges of a solo performance, particularly one that uses complex storytelling structures, is ensuring that the audience remains anchored in the narrative. In this case, the staging and overall presentation could have done more to guide us through the unfolding events. With a clearer visual or spatial structure, the shifts between characters and perspectives might have been more immediately legible, helping the audience connect with the material on a deeper level, and keeping pace with Kenyon’s mercurial performance.
Whilst technical elements such as lighting (Alex Teixido Blouna) and sound (Markos Beebe) provide sufficient signposting and some atmosphere, the set and video elements by Douglas Baker lack the same precision. I get the sense of great ambition behind the ideas represented, but their execution needs more professionalism. At times, given that budgets are often tight in productions like this, it might have been wiser to do more with less – the video projection here being a good example As it stands, the show relies heavily on Kenyon’s performance to carry it forward, and while she is more than capable, braver choices could have elevated the production further.
That said, Fluff remains an ambitious and engaging piece of theatre. The play tackles a difficult topic in a way that is both thought-provoking and refreshingly offbeat, and Kenyon’s central performance is undeniably compelling. Fluff is already something of a hit, having won several awards and now on an extensive UK tour. With further refinement, it has the potential to become an even more powerful and resonant theatrical experience.
You can read more about this show in our recent interview here.
Written by: Tayla Kenyon and James Piercy
Directed by: Danäe Cambrook
Lighting design by: Alex Teixido Blouna
Sound design by: Markos Beebe
Video design by: Douglas Baker
Dramaturgy by: Rosie Snell & Sally Wood
Videographer & photography by: Patrick Murray
Produced by: Joe Brown & Teepee Productions
Fluff plays at New Wimbledon Theatre’s Studio until Thursday 3 April. It completes its tour on Saturday 12 April at Southend’s Palace Theatre Dixon Studio.
