The Sacred Obscene
An attempt to reclaim wild sexuality
This article is from 2015.
The stripper has become a familiar stock character in recent Fringes: from autobiographical tales from the lap-dancing club, through social commentary to burlesque, striptease is clambering free of its association with working men's clubs and unseemly entertainment.
Glass Moon Theatre Company are using the stripper as a metaphor, perhaps. Through a series of episodes, the lives and loves of four strippers are studied. Unfortunately, the stock stories are retold: one is a dancer looking for a break – with a Flashdance-style interlude; another is a student who ends up selling sex; the boss is a hard manager and a loving parent. Through the single male performer, a range of men are portrayed, from a sleazy punter to a jealous boyfriend.
Taking a cue from Pinkola Estes' Women Who Run With the Wolves, The Sacred Obscene wants to connect these mundane lives to a mythical wild, untamed sexuality. In the finale – a stomping dance of triumph – this is made clear. Yet the formulaic characters are unconvincing, despite some strong performances.
Glass Moon are a new company, and they have boldness, imagination and, at times, charm. Ruth Tinker brings an agitated passion to her ambitious yet loyal dancer. In the last moments, through tough choreography, their potential is revealed, but this walk on the wild side feels like a montage of received ideas.
SpaceTriplex, 510 2395, until 22 Aug, 9.15pm, £8 (£6).