Review: Unforgettable Girl, Streatham Space Project

Elisabeth Gunawan captivates from the moment she steps onto the stage at Streatham Space Project, emerging from an unassuming cardboard Amazon box clad in a worn out wedding dress to kickstart Unforgettable Girl. Her narrative orbits the cultural phenomenon of ‘mail-order brides’, exploring the intersecting themes of cultural exploitation, white privilege, and the violence inflicted upon marginalised bodies. Gunawan breaks the fourth wall early-on, by playfully pitching her offer of £19.99 mail-order bride services to any wealthy suitors in the audience. She then explains the genre of the show as “trash theatre”, wherein she invites the audience to take…

Summary

Rating

Good

Unforgettable Girl captivates with its dark comedy, propelled by Gunawan's dynamic performance. While slightly disjointed, its brilliance shines through, offering a memorable theatrical experience ripe for refinement.

Elisabeth Gunawan captivates from the moment she steps onto the stage at Streatham Space Project, emerging from an unassuming cardboard Amazon box clad in a worn out wedding dress to kickstart Unforgettable Girl. Her narrative orbits the cultural phenomenon of ‘mail-order brides’, exploring the intersecting themes of cultural exploitation, white privilege, and the violence inflicted upon marginalised bodies.

Gunawan breaks the fourth wall early-on, by playfully pitching her offer of £19.99 mail-order bride services to any wealthy suitors in the audience. She then explains the genre of the show as “trash theatre”, wherein she invites the audience to take a departure from British politeness for an hour and laugh, cry, make sheep noises, or even leave at any point if they desire. “Trash theatre” serves as an empowering vehicle for Gunawan to subvert expectations and explore intersectional feminism. While the prologue incites some riotous laughter, its length could be trimmed to maintain momentum.

Throughout the performance, Gunawan exudes boundless energy, commanding the stage with impeccable comedic timing and physical prowess. This is not however a one-woman show, as she is supported by Kyll Anthony Thomas Cole, her “Vagina Mechanic”, whose role is reminiscent of an all-seeing, all-knowing magician’s assistant. Their onstage chemistry is palpable, enhancing every scene transition and adding depth to the narrative. Cole’s stage presence shines, his effortless assistance (and occasional cartwheel) complementing Gunawan’s dynamism, and it would have been great to see more of them working as a duo in the show. There is a particularly poignant moment of dark comedy between her and Cole where he plays a customer ‘ordering’ a bride, and I was left wanting more.

Unforgettable Girl navigates challenging subjects with finesse, seamlessly transitioning from uproarious comedy to gut-wrenching, haunting moments that make your skin crawl. However, the play’s ambitious scope leads to a sense of fragmentation, as it attempts to cover too much ground in a short span. It feels at points like watching a trailer for a production, with a lot of great moments examined very briefly. A more focused approach, allowing certain ideas to be explored in greater depth, would enhance the overall impact of the production.

Gunawan’s performance dazzles with its blend of wit, vulnerability, and social critique. Unforgettable Girl is, as its name suggests, truly unforgettable, and tantalises with several flashes of brilliance. A more streamlined narrative structure, however, would elevate it from a theatrical whirlwind that leaves you wanting more into a tightly woven tapestry of excellence.

Written by: Elisabeth Gunawan

Directed by: Simon Gleave and Briony O’Callaghan

Design by: Charlie Wood

Sound by: Richard Durning

Produced by: Pleasance, VOILA! Festival and Created a Monster

Unforgettable Girl has completed its current run at Streatham Space Project.