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Egg review at Summerhall, Edinburgh – ‘exuberant aerial work’

Sarah Bebe Holmes in Egg at Summerhall, Edinburgh. Photo: Richard Dyson Sarah Bebe Holmes in Egg at Summerhall, Edinburgh. Photo: Richard Dyson

Marrying aerial movement to the process of egg donation may not be the most obvious of creative choices, but the physical risks and emotional leaps of faith in that act become centered through this expressive form. Egg mixes the clinical with the personal for something that is both informative and gripping.

When we arrive, Sarah Bebe Holmes is suspended from the ceiling in a clear plastic womb, naked body akimbo. She will be birthed into the world with a splash and then perform most characters in the show (identified by shoes) including her friend Carol who is struggling to get pregnant and asks Sarah to donate her eggs. Sarah agrees.

Sarah Bebe Holmes in Egg – Photo: Richard Dyson

Through her aerial work (using clear plastic tubes, cellophane, and plastic strips fashioned into stirrups) and animated projections, we see the process from hormone treatment, to egg production, to embryo transfer. Transparency is a theme and aesthetic. Sarah has her medical and family history scrutinized while facing a hefty dose of medical establishment judgment.

Holmes’ physical and emotional states get expressed through aerial language. She’s playful on the plastic ropes when happily agreeing to donation. When she’s hopped up on hormones, her twitching movement is herky-jerky, twisted in cellophane.

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Exuberant aerial work conveys the emotional and physical experience of egg donation