Lucy McCormick: Triple Threat review at Underbelly, Edinburgh – ‘smart, funny, true’
A filthy, broken cacophony of pumping bodies, regurgitated scripture and flying frankfurters, Lucy McCormick’s rave is a biblical blast. The story of Christ warps around an hour of messy excess and desperate 3am crooning in a piece that cloaks its serious intent behind a bleary-eyed binge of obscenity.
McCormick, one third of the similarly brilliant but slightly more austere GETINTHEBACKOFTHEVAN collective, has long used her body as the inhibition-free battleground for her art. I’ve seen her vulva every time I’ve seen her perform, and once she was just drawing a raffle. But here it’s at once passively receptive to the abuses (and self-abuses) it endures, but also triumphant, as McCormick belts out power ballads and body pops up a storm with her scantily clad (and male) Girl Squad dancers.
Its ambitions to make the scriptural physical, to make the story of Christ physical and bodily, can be traced back to the medieval Mystery tradition, though even at their most outrageous I suspect they rarely featured anal fingering. In the mess of sweat, saliva and Nutella, McCormick is speaking eloquently about the violence and objectification meted out on women’s bodies over thousands of years, from phallo-centric scripture to Snapchat coercion. Triple Threat is built on its own holy trinity: it’s smart, it’s funny and it’s true
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