Esme Davis
An empty stage, a microphone, and a loop pedal. That’s all Holly Spillar needs to tell her story, to fill the room with laughter, and to send chills down your spine.
Tall Child is an hour of theatrical stand-up comedy, combining playful randomness with very intentional political observations. Fusing an other-worldly style of storytelling with ear-worming songs live-looped on stage, Holly takes us on the journey of how she came to be here as a working-class artist. After easing the audience into her tale with a foreboding disclaimer about the high-risk nature of the story to follow, she begins to outline her way into the arts, with anecdotes building the foundation for the absurd, unnatural style that is so captivating about this performance.
We are soon introduced to the main setting for the story: Holly is looking for a job in the arts, and so ends up working in childcare, looking after the children of the super-rich. Children who already have far more privilege, opportunity, and security than she has ever experienced. Her antithesis is aptly titled ‘Future Landlord’ – a three year old whose every whim is met, every finger-painting celebrated, and every motion monitored by bodyguards.
Holly’s delivery throughout this story is captivating. She appears to play with tone, pitch and volume in a way that pulls the show completely out of reality. Gone is the familiar conversational tone of the traditional stand up comic, and in its place is a rhythmic, bouncing register which casts a delightful confusion over the entire set as you struggle to figure out who this subtle but slick character could be. The physicality and facial expression complement this; all of Holy’s body language is choreographed and heightened, lending a theatricality to the experience which effectively captures you within the story.
All of the above become even more significant when combined with the musical elements of the show. The songs all follow a similar formula, with Holly building up a backing track of skillful vocal percussion, and then layering key lyrical messages in different pitches over the top. This breaks up the story to drive home key points, using repetition and audience interaction masterfully to highlight the moments that deserve her spotlight.
These elements layer seamlessly as Holly leans into the absurdity of the story, drawing out and drilling in each element through her unique musical numbers. Some of these are mindlessly funny just from the abnormality of it, like inviting the audience to join her in navigating the ‘shit slope’ that is today’s society. The show ends, however, in a place that’s a bit darker, more poignant, and leaves you feeling a little more on edge than when you entered the room.
Holly is angry about the barriers that face working class artists and the failings of the class system. But, as she makes clear, this is more than another ‘hate the rich’ show. The point being made is a nuanced critique, with the story constructing a clear image on how the class divide causes pain on all sides. The audience are drawn to Holly’s situation and the painful task of attempting to make a living through the arts. However she also clearly illustrates how the billionaire baby in her care will be forever affected by the lack of reality she experiences as a child. And so, the system perpetuates.
A hilarious comedic experience which leaves you giggling and thoughtful, with at least two songs stuck in your head.
Recommended drink: Negroni, bitter and bold, with a little sweetness.
You can catch Tall Child at Dexter at Underbelly, Bristo Square, from 1st to the 24th of August (not 19th) at 17:45 (60 mins). Tickets are available through the EdFringe Online Box Office.
Jasmine Silk
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