Blush review at Underbelly, Edinburgh – ‘vital’
Take it into schools. Take it into every school. Show it to every class. Show it to all the boys, and all the girls, but especially the boys. It is vital that they see it, it could do so much good, it could save so much harm.
Blush, Charlotte Josephine’s follow up to her smash hit Bitch Boxer, is even tougher, it swings even harder. A two-hander, with Josephine sharing the stage with Daniel Foxsmith, it consists of a tumble of interconnected monologues. A father concerned at his daughter’s welfare in a world of Snapchat and nude selfies, a woman violated by the sharing of intimate pictures, a man who throws another woman to a pack of Twitter wolves – daughters, sisters, friends and fathers all ill-equipped for survival in an online world of instant infamy and petty revenge gone viral.
It’s captured in two uncompromising performances, Foxsmith sweating guilt and Josephine raging across the room or crumpling into next to nothing. Flash bulbs catch gyrating bodies and hot, desperate tears in a production by Ed Stambollouian that’s as taut as a cramping gut. This is absolutely vital theatre for an age where sex education and online awareness trails a deadly distance behind the march of technology in our impossibly, dangerously interconnected world.
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.