‘WEER’ opens right in the middle of an argument on New Year’s Eve, 1999. Starring Natalie Palamides, we follow the story of a heterosexual couple, depicting the hilarious highs and lows of their 3 year relationship through the art of clowning.
The physicality of ‘WEER’ is no small feat. With an 85-minute runtime and zero intervals, Palamides is onstage for the entire time. She moves on and off stage, effortlessly interweaving moments of audience participation, as well as keeping the plot (quite literally) running. It’s both incredible and exhausting to watch, and it really does demonstrate her impressive comedic chops.
Props are a huge aspect of this show, largely due to it being such a physical performance. It’s a tall order to present the entire lifespan of a relationship, spanning multiple years with endless scene changes. Yet, somehow, this is pulled off to a hilariously detailed degree (including, but not limited to: a lifesize deer, a car, and a working shower).
It’s important to note that, even with the chaos of never-ending props and scene changes, Palamides’s actual performance is the standout point of the entire production. Playing two characters, one side of her body is dressed masculine with facial hair, and the other half feminine. She switches between both characters nonstop (costumes included), even having full-blown arguments with herself. Palamides’s physicality, mannerisms and voices are so perfectly contrasted between both characters that she manages the almost impossible task of making you forget there’s only one person on stage.
Overall, ‘WEER’ is a hilarious tour-de-force of talent and skill. It’s witty and ridiculous, yet also tender and poignant. It’s a guaranteed must-see that’ll keep you laughing (and cringing) throughout.
Review: Bethany Chandler Photo: Jill Petracek