LOVE & ANGER: CRUMBLE BEFORE BETTY GRUMBLE

A Rude X Pube of a show with, literally, vagina monologues that ticks all the boxes, BETTY GRUMBLE: LOVE & ANGER manages to affront and take aback in its seventy minute stride.

A sex clown aesthete with the stamina, flexibility and physical prowess of an athlete, Betty Grumble is the confronting creation of Emma Maye Gibson.

The springboard of LOVE & ANGER’s scatter gun narrative is Valerie Solanus’ SCUM Manifesto, which she reads and quotes from occasionally.

SCUM Manifesto argues that men have fucked up the world and that it’s up to women to fix it, but Grumble doesn’t call for a Society to Cut Up Men. In fact, there’s a lot more love than anger in LOVE & ANGER, and A – Women to that!

Holder of an honours arse degree with impressive tats, Betty Grumble struts and spreads and splays and splits, making vulgar display of her vulva, a labia of love and anger, a panache for pudenda ventriloquism, pussy lip syncing to Love Hurts and Barry White grooves.

There’s badinage about her body building mum, complete with itsy bitsy non polka dot bikini, a snatch of the scatological, and a raunchy Rorschach with ink blots pressed from her not so private parts.

LOVE & ANGER’ s finale is a foray into floral arrangement with Betty’s body topsy turvy to create a human vase for long stemmed flowers.

Exhibitionist, provocateur, singer, dancer, contortionist, Betty Grumble offers a literally penetrating evening in the theatre.

Love it or be angered by it, LOVE & ANGER is risky, risque and strangely irresistible.

LOVE & ANGER plays at Griffin Stables Theatre, Nimrod Street, Kings Cross, through till Australia Day

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