Chloe Petts’ latest hour
Her bravado is inherently funny, as is her football obsession and unhinged behaviour at weddings.
Petts graces the Edinburgh Fringe stage having just completed a UK tour of her first solo show Transience, which laid forward her personal experiences of the tension between gender non-conformism and societal expectations that sought to aid deeper understanding and acceptance amongst UK audiences. Satisfied with the gentle and loving approach, in her new show, Petts seeks to switch tactics, boldly confronting her own tendencies towards machismo and lad culture. What is striking is how Petts combines frankness and subtle critique whilst simultaneously avoiding heated rants about the injustices of the world which, though completely justified, can often dampen the mood of a stand-up show. Instead, the show is gleefully mocking both of the British public and of Petts herself.
The moment Petts opens the show, we feel like an old mate of hers, confiding in us whilst simultaneously slagging us off. Thrust into Stockholm syndrome territory, we beg for more, and she continuously delivers. It feels like a treat whenever she turns her attention to us, brimming with quintessential charm as she spontaneously riffs. Her bravado is inherently funny, as is her football obsession and unhinged behaviour at weddings. Petts creates a strong sense of flow in her show, and her vocal dynamism and smooth transitions make her come across as a seasoned professional.
If You Can’t Say Anything Nice is an effortless, charming watch that will keep the laughs coming. It would be difficult to argue that Chloe Petts’ show is anything other than a ‘must watch’ at the Fringe this year.
