The Two Wrongies
Confused and confusing naked double-act
This article is from 2011.
It’s unclear where the poorly concealed punches in this crude cabaret of physical comedy are aimed. From five minutes into their performance, the female double-act remains in various states of undress, with predictable simulations of sex and naked high-kicks, lunges and intimate fumbles, revealing their bold intentions. Derivative of a rich lineage of female performance art, a strange homage that dangerously references everything and nothing simultaneously, accessory changes are enabled by a series of absurdist low-fi interventions, projections of the pair on the streets mimicking collective actions or prostitution.
Near beautiful, a dance sequence involving a long stretch of black dress, is pretty, but out of place amongst the other routines. A ballerina stands proud in a white tutu before scratching at her vagina, teasing her nipple and popping a tit out of the top of her leotard. Naked except for nose clips, goggles and caps, the pair’s synchronised swimming set provides an opportune showcase for their agile physiques, and whilst their powerful movements signal a possible direction for this pair, one must not forget that this is billed as comedy.
Speech is sparse and it’s hard not to get hung-up on the rather humourless admission that one of the women had lost her virginity in her early teens: she’d cried, but Tim hadn’t noticed. Surely they aren’t aiming their angst at teenage lusts? Perhaps it’s youths that may appreciate this performance, but surely it would be condescending to assume that the shock value of nudity still holds currency with the young when their screens and stages are equally saturated. As far as ‘subverting the locker room mentality’, this routine falls short. It’s a bewildering, potentially damaging hybrid of dance and slapstick that attempts to glean leverage from its assimilations to art. Oh, and they spit at the audience.
Assembly George Square, 623 3030, until 28 Aug (not 22), 10.30pm, £9–£10 (£8–£9).