An oddball comedy that packs a punch.
In PurSUEt is a one woman show about stalking Sue Perkins. This premise, coupled with the silly promo shots with a life-sized cardboard Sue, led me to expect pure frivolity; in actuality, writer-performer Eleanor Higgins’ debut show has a lot to say about obsession, addiction and denial – whilst also packing in the laughs.
A lot of the early comedy comes from our unnamed lead’s total denial that she has a problem. Sure, she may drink heavily but there is always a justification; yes, she is tracking Sue’s whereabouts but she’d never go to her actual home. Our lead tells us that she can put her willpower to anything she wants – she has simply chosen to “put [her] mind to Sue”. The chasm between what is being shown and what is being said is a set-up ripe for humour. However, there is also something painfully realistic about the denial and circular logic on display, that anyone with experience of addiction will know all too well. Higgins is sparing with the more earnest lines of dialogue, but the choice few cut deep: at the heart of it all, “she [Sue] makes me feel safe”.
The show relies on Higgins’ charisma and energy to captivate the audience, and she very much delivers. Unlike many one-woman shows that rely solely on monologuing, In PurSUEt also steps into the action through flashbacks. Higgins’ physicality is vital in evoking different settings and a believable sense of back and forth dialogue, all whilst solo on stage with very little scenery or props (a credit also to director Tom Knight). Sound and lighting (designer unknown) are used intelligently to further conjure a sense of place, and to convey our lead’s mental state and intoxication. There is one extended sequence near the end of the show that is a masterclass in drunk acting, and the accompanying sound design takes it to another level.
In PurSUEt is original, funny and insightful. Parasocial relationships are increasingly relevant living in a digital age and the show manages to contribute to this wider social commentary, without losing sight of its own absurdly specific story. Furthermore, it effectively mines that story for comedic potential, whilst never making light of the darker themes at play. The night I saw the show, Higgins was under the weather recovering from Covid – and yet her performance, and the show itself, were utterly stand out.