Ellen Leslie
Imagine a world where it is so hot that the government bans all items of clothing. This is the world that Ari Bhatti creates in her solo dance-theatre show SWEAT. Set in 2045, the Irish government has set a mandate that residents must be naked at all times in order to save resources. Exploring themes of beauty standards, misogyny and our relationship with nudity, it is a bold and thought-provoking show.
Lots of effort has gone into creating the dystopian future we hear about on the radio, and we really feel immersed in the world. These segments also consider how people with different body types feel: plus-sized women struggle with thigh chaffing, religious women who dress modestly disappear from society, and trans people’s gender dysphoria increases as they have not yet had gender affirming surgery. Meanwhile, the threat of climate change lingers in the background, as bushfires rage outside and talk show guests faint from heat exhaustion and dehydration. It is bleak and depressing, especially considering that it’s not that far off from what our reality could be.
Hair removal is a key theme; as water can only be used for essential purposes and the price of cosmetics has skyrocketed to discourage overconsumption, it is almost impossible to shave or wax. The change is widely discussed on the radio, with the guests talking about how they adapted to the new rule. One women speaks about her frustrations when her White friends complained about their hair growing: their fine blonde hairs are barely visible compared to her thick, dark ones. It’s a theme that visibility resonates with Bhatti.
For a show that is advertised as dance-theatre, there isn’t a lot of dancing. Most of the show consists of the performer pampering herself, with the radio playing in the background. Sometimes she reacts to the radio and her actions become more frantic when the discussions hit too close to home, even switching it off at one point when one of the guests talks about a friend that sounds a lot like her. The few dance segments are good, and Bhatti shows great emotions. She writhes her body into twisted shapes, effectively showing her anguish and mental pain.
Some concepts in the show don’t make sense, and thus lack impact. There are two neon signs that say dirty and clean that light up at various points, but their significance isn’t clear. They are positioned on the side of the stage too, and as they’re not directly in our eyeline, it’s easy to forget about it. It’s also confusing why she changes into a bikini at the end of the show.
SWEAT is a brave and innovative concept, and Bhatti must be praised for her creativity and confidence. The issues it explores are timely and important, but it requires more onstage performance and clarity to be considered excellent.
Recommended drink: Chug a glass of water while it’s not limited.
Performances of SWEAT have concluded at Dundee Fringe 2026.
Tom Clayton
