A modern tale of social media spiraling out of control, about social and economic outrages, about privilege and despair, and a hilarious tale of friendship and individual power, it's no wonder this comedy is getting a sold-out return season. Like all the best comedies, Jasmine Lee-Jones's script has a serious question at its heart, about how we engage with one another in an increasingly fragmented world, about how we stand up against the ludicrous entitlement of the billionaire class, and how the cyberconversations we have impact on our lives.
Directors Shari Sebbens and Zindzi Okenyo keep the pace fast and furious, keeping a dense and intelligent script crystal clear for the audience. Moreblessing Maturure as Cleo is the cocky, rageful centre of the story, staking her clam as sarcastic narrator, arbitrer and ultimately the vulnerable figure finding the backlash to her opinion too much. As her offsider, Iolanthe holds her own both as interlocutor and later as interrergator as revelations about Cleo's past come to light.
Keerthi Subramanyam's design is clean and simple, a private space with the social media projections looming over it, and gives just enough space for the various surprises to show up. This is a production that undoubtedly still has life in it (it's already announced a tour to LaBoite in Brisbane, and I wouldn't be surprised to see it on the road further), and it's a right-to-the moment contemporary comedy that will delight anyone whether or not they have any idea who the hell Kylie Jenner is.
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