The only performer yet to mess with the Assembly Rooms’ compulsory pre-show atmosphere-murdering fire safety announcement, Bridget Christie had me with a simple fart sound.
Fans of Christie’s trademark weird wonderfulness won’t be disappointed – costumes, drama, soul, and budget special effects abound in her telling of the war donkey’s tale.
And by telling, of course, I mean acting with props and sound effects and dramatic music. She is an undeniably spectacular surrealist, but that’s not where it ends.
War Donkey has a serious subject at its heart – gender inequality, the rights of donkeys (read ‘women’), and the marginalisation of donkeys (women) in careers like comedy.
This is clearly something Christie cares about and knows about, but her intelligent, off-beat approach and captivating personality keeps her away from being a soap box comedian. She deconstructs jaded stereotypes, both about what a feminist is and about gender in comedy, deftly, hilariously, and completely. And all while dressed as a donkey.
The close of the show is a perfect blend of silliness and that unique Christie quirkiness, ensuring giggles from your seat to the door and beyond.