Pleasance Courtyard (Cellar), Edinburgh
Clare Pointing’s With Child is a series of monologues, connected only by the fact that each of the protagonists is pregnant. But, in a sharp little twist, only one of the six ever mentions it.
The pregnancies are all visible, and I’m not just referring to the sizeable bump that Pointing sports. These women sit down gratefully, glad to take the weight off, or they rub their bellies absent-mindedly. They snack on weird food combinations; emotions are running high. They’re definitely with child, but it’s not the only thing they care about. They have other interests, other concerns.
Pointing is a chameleon. She eschews even token costume changes, relying instead on vocal and physical characteristics to define each role. It’s a remarkable performance: these diverse women are all utterly believable. (I’m disappointed when she doesn’t do the usual ‘If you liked it, tell your friends’ spiel at the end of the show, because I want to know which – if any – of the accents used is really hers. They’re all spot on.)
From the wealthy gym enthusiast, used to complaining loudly and getting her own way, to the granny’s girl who doesn’t really like her partner very much; from the doormat who finds freedom in zumba, to the transphobic nosy neighbour who thinks she ‘just gives too much’ – these are all quirky, original creations, not a cliché in sight.
The piece is beautifully structured: we spend the first thirty minutes laughing, and then the mood changes. The final piece is poignant and powerful, the perfect place to end.
With Child is a clever piece of writing, performed with real flair.