Catherine Bohart: Lemon
- Suzanne Black
- 9 August 2019
This article is from 2019
Beautifully executed hour about queerness
Catherine Bohart begins by explaining that this year's show is a rebuttal to one bigoted audience member who disliked her much-praised 2018 show, Immaculate. Determined to be even more overt about her sexuality this time around, the bulk of this hour is devoted to Bohart's experiences as a bisexual woman, her embarrassingly sex-positive mother, lots of very frank sexual discussion, and abrupt digressions about the Teenage Mutant Ninja Turtles.
Bohart frames the Fringe, and the arts in general, as a celebratory and exploratory platform for queerness and how it can exist beside the straight white male, heteronormative comedy bilge. After an hour of treating bisexuality like the totally normal thing that it is – neatly balancing the needs of queer audience members and those who require things like 'lesbian bed death' explained to them – reality kicks back in with a reminder of all the ways in which queerness is not accepted or even tolerated.
This exquisitely plotted and executed hour from a beautifully self-assured performer ends on a downer, calculatedly denying the audience an expected comedic crescendo. At this point the seemingly disparate threads of the show reveal a bigger picture that connects the dots between artistic representation and the precarity of having a non-normative identity.
Pleasance Courtyard, until 25 Aug (not 13), 6pm, £9–£11.50 (£8–£10.50).