Marny Godden: Flap’em On The Gate

Swaggering on the stage as a country bumpkin hobo, Marny Godden has the audience giggling at the get-go and if you were under any illusions that Flap’em On The Gate was a straight lace character show, you are soon to have that notion dispelled, as a member of the Weirdo’s comedy collective, Marny is firmly into the bracket of eccentric and the wonderfully weird.

Godden toys with the audience that the show might have a perfect arc slash perfect chaos. It’s certainly chaos and in terms of an arc there’s not much in terms of glue or theme, it’s not all that essential for a show like this. At the centre of the stage stands the naked costume stand, where Godden goes through her transformations as an OCD hoover obsessive, close mouthed Noah, a beige pot bellied dance sleaze and a young Italian American with a curious formation of the alphabet. There are also some wonderful comical props to compliment the outlandishness of it all.

Caution has to be applied before considering seeing Godden, this show isn’t for everyone especially if not a fan of the ridiculous or audience participation. The show is a little up and down. Perhaps each character set-piece runs a little long and borders the tedium now and again. Particularly so when costume changing, it’s not easy of course and Godden maintains eye contact and keeps the vibe with a cool soundtrack and a bit of groove, but there could have been more thought employed to keep these moments comically ticking as these processes allow the audience to switch off and it also denies the audience the element of surprise in her costumes. This is mostly frustrating giving that Godden is capable of creating explosive fits of laughter, more so than most at this Fringe. Flap’em At The Gate is not slick but it is a piece of work that proves that Godden is capable of brilliance.


Chris Aitken

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