A fitting tribute to the Empire
Walking into the space of Auntie Empire, you are welcomed by Auntie, an over the top clownish personification of the empire. The set and costume evoke a traditional ideal of Britishness: tea caddy, sugar cube earrings and a regality that can only be described as British. From the moment the audience enters Taudevin is fully engulfed in the character, a gaudy, mumbling, crass and somewhat gory vision of the Empire that we all live under.
Taudevin’s performance is utterly spellbinding from start to finish. The way she plays with vocality and movement evokes a high concept version of clowning, reminiscent of the early Avant-Garde writers. As the play progresses, Auntie unravels, and Taudevin works wonderfully to turn between the quant image of Britishness and the turmoil hidden beneath. It takes a skilled performer to grip a modern audience over the play in the way that Taudevin succeeds. You simply cannot look away.
The play is an absurdist comedy, and Taudevin along with the dramaturgs, Hurley and Sharaawi deserve credit for how they have managed to personify the empire and build a story that is as affecting as it manages to be. The final image is lasting and horrifying. It will give audiences much to discuss as they leave the venue.
The conceit of a funeral for our Auntie Empire is played well and sticks with the audience, and the inclusion of puppetry only adds to the play. A lewd Punch and Judy show is exactly the break we need from Auntie’s overbearing energy, and builds a certain rhythm that pulls us through to the final moments of the show.
A moment of praise needs to be given to the costume, puppet and set designers: Maynard-Hanm, Dunn and Lappin, who design a beautiful stage brimming with fun intricacies, quite amazing puppets and a functioning, over the top costume for Auntie. Think Margaret Thatcher, only slightly more unhinged. The same praise should be given to the sound and lighting designers; Thamba, Paget-Tomlinson and Jones, whose design adds a high production value that emphasises the lasting impression the play has on the audience.
Be warned, there is a fair bit of audience participation, and perhaps those moments need to be refined as the work continues to be played. The only false step the play takes is overdoing some of the silly moments in the opening half. But maybe, these elongated moments need to be played to bring an audience into a form of theatre that needs to be shown more. Or maybe, it’s just nice to get a caramel wafer.
All in all, Auntie Empire is a fitting tribute to the empire, running until 14th February 2026 at the Tron Theatre, Glasgow.