Frankie Thompson's 'Horrible Things' at Edinburgh Fringe: A Shuddering Blend of Clownish Terror and Laughter

Frankie Thompson's latest offering, "Horrible Things," currently showing at the Pleasance Courtyard as part of the Edinburgh Festival Fringe, is a provocative and exhilarating exploration of performance art and clowning that aims to elicit laughter through unsettling subject matter. Thompson herself describes the show, with a voice that channels the iconic Peppa Pig, as a "work-in-regress," an act of expunging deeply ingrained, or perhaps repressed, "Horrible Things" from collective memory. This unique brand of performance art, which consistently guarantees a compelling on-stage experience, presents these "Things" through a dynamic combination of lip-synced audio and daring audience-terrorising stunts. Presiding over this chaotic yet controlled spectacle is Thompson herself, a "brisk and wild-eyed host" in a distinctive polka-dot dress, who commands the stage with an unwavering, no-nonsense authority.

The thematic focus of "Horrible Things" often leans towards male figures, with a deliberate intention to create a sense of ease for female audience members. A standout segment involves a meticulously crafted lip-sync performance of an interview with a 12-year-old Jacob Rees-Mogg. The review emphasizes the profound effectiveness of Thompson's rendition, suggesting that her hyper-expressive facial contortions and nanosecond-precise timing deliver a more incisive commentary on the upbringing and societal implications of the country's ruling classes than any traditional satirical text could achieve. This particular sketch serves as a powerful testament to the artistic potential of lip-sync as a vehicle for sharp social critique.

The show's run at the Pleasance Courtyard in Edinburgh extends until August 30. Following its Edinburgh engagement, "Horrible Things" is slated for a transfer to London's Soho Theatre, where it will be performed from November 9 to November 21. The Edinburgh Festival Fringe, a renowned platform for experimental and emerging talent, is a fitting venue for Thompson's work, which, while potentially categorized as a work-in-progress by some, offers a distinct and impactful theatrical event. The fusion of clowning techniques with avant-garde performance art creates a singular experience that is both disquieting and undeniably entertaining. The performance's eclectic nature is further exemplified by its inclusion of concepts like Frank Sinatra's ego in space, illustrating a "wild collage" of imaginative and often absurd scenarios designed to provoke a visceral reaction.

Thompson's artistic approach is characterized by its bold engagement with uncomfortable themes, transforming them into moments of shared, albeit shuddering, laughter. The carefully orchestrated stunts and audio elements contribute to the show's unsettling yet humorous atmosphere, ensuring that the audience remains captivated and engaged throughout. The review suggests that the show's success lies in its fearless exploration of taboo subjects, reframing them through a lens of dark comedy and performance art.