The opening to Ange Laviopierre’s comedy show is unique, but maybe not for seasoned Fringe fans, as she asks the crowd: “Where’s my pants?”
Her semi-biographical story about finding Christianity and falling out of religion starts with her exorcising the Christmas Krampus myth – it’s meant to allegorically represent the heathen she’s become and always was – to an audience spread apart in the open-air Piglet venue in Gluttony.
At first glance, the 55-minute performance seems a linear narrative, but it slowly unravels as a zany retelling of how a young person tangles with not having a higher order in which to believe.
The solo show reels in its audience with characters such as a self-appointed “slutty” Google Maps blue dot and a blazer-wearing ancient church minister, and props including bones and tarot cards.
Lavoipierre even includes excerpts from her pre-teen diary, and asks the crowd to join in singing a self-written hymn, but at points struggles with fighting over other sounds seeping into the open-air venue.
What originally sounds like a stiff and structured script, with Krampus speaking with an at-first off-putting American accent, eventually melts into something more lucid as Lavoipierre abandons the fantastical soliloquy and wins us over with impersonations of her Australian hip-hop-loving former flame and metaphysical pondering.
At the end of her colourful performance, which can best be describes as a kaleidoscopic show filled with costume changes and quick-witted quips, the young comedian explains she’s deafeningly self-aware just how bizarre Zealot is.
She says we should tell our friends but stress it’s a “tall-order”.
Ange Lavoipierre: Zealot is showing until March 7 at The Piglet in Gluttony.
Read more Adelaide Fringe reviews and previews here.
When you commit to a regular weekly, fortnightly or monthly tax-deductible donation to InReview, each scheduled donation will be matched by Creative Partnerships Australia. That means you’re supporting twice as many InReview stories to be commissioned, edited and published.Donate Here
This article is supported by the Judith Neilson Institute for Journalism and Ideas.