If you’ve seen the poster or been handed a flyer for Ghost Machine, you may know what to expect, but the first glance of Laura Davis covered in a bedsheet on a dark stage is still quite startling. It’s an eerie sight; even when she bops around to pop music while the audience file in, fairy lights glowing underneath the sheet.
As comedy gimmicks go, it’s a brave one, considering how hot Fringe venues get. The tone is set straight away; Davis is having a bit of an existential crisis. Davis wears the sheet for most of the show, peering out at us through classic bedsheet-ghost eyeholes, telling us about her bizarre old job involving forks, and questioning the nature of the human body’s compositional structure.
It’s funny too, by the way. Davis is gregarious and never lets things get too maudlin, even when she started asking the audience some pretty searching and difficult questions. Without giving too much away, there is some theatricality to Ghost Machine which might not work for everybody, but it’s still a very funny and playful show that sticks in the mind.