So they go from fast-food poetry to Crackerjack cookery and on to great tirades of confrontational fury, pleading for a society in which marginalised people don’t have to go on stage to let their voices be heard and where passersby do not simply pass by when someone’s human dignity is denied. The threat of being pointed at, heckled and assaulted remains. Following the success of the live performances which were curtailed due to lock-down and the huge international response to the online broadcast, Overflow, a hilarious and devastating tour of women’s bathrooms by acclaimed writer and performer Travis Alabanza (Jubilee, Burgerz), directed by Debbie Hannan and performed by Reece Lyons returns. They generate roars of laughter, but the angry and intelligent script is also underscored with the real pain of exclusion, of being boxed in, of being trapped in a world where sexual and racial violence is prevalent and, too often, tolerated.įor all the fun and games of early morning drinks and hamfisted onion chopping, there is little to be gained from mastering the burger. Although fragile, Alabanza is sassy and witty, feeding off the audience like a seasoned cabaret star and riding the unpredictability of the interactive format. They think it’s worth a try if only to dispel the memory of a meaningless attack. After someone threw a burger at them and shouted a transphobic slur, Travis Alabanza became obsessed with burgers. Like claiming a term of abuse and making it a badge of pride, there could, perhaps, be something empowering about learning the thickness of the bap, the spiciness of the meat and the size of the container.
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