LAID

A woman lays an egg a day and faces a tumultuous decision: will she raise her egg, or eat it? In this hysterical (in every sense of that word) show, Natalie Palamides takes a relatively simple (if decidedly offbeat) concept and relentlessly whisks it into a story where you’re left battered, shattered, and shell-shocked. And those aren’t just bad puns.

There were many audience members who were burying their faces in their partner’s shoulders as the plot veered into unexpected yet inevitable territories

Palamides – who feathers her nest with training at the famed UCB Comedy in America– has delivered an hour that is tightly packed with high emotion and base laughs. It’s a very neat trick to repeat a joke (as this show occasionally does) without lessening the gag’s impact on the audience each time, but Palamides is in such absolute control of her audience that each time the central conceit is duplicated, we’re all of us heart in mouth, head in hands to see how things will turn out. It’s a cardinal sin for this reviewer to use the phrase ‘rollercoaster’ quite so early in the Fringe, but it’s a very apt description for how skillfully we are pulled in all directions. You can dock me five reviewer points later, it’ll be worth it. Laid is in equal parts moving and beautiful, as well as being delightfully dumb and crass. It is very rare (as rare as hen’s teeth, perhaps) to see a show that can be painfully hilarious and genuinely traumatic within the same heartbeat, but Laid manages exactly that.

We see all aspects of our heroine’s life, from birth to awkward fumbling (hereby answering that question: who ‘came’ first, the Chick or the egg), and there’s even a very neat Streetcar Named Desire gag. The childish innocence of the characters, blended in with lashings of existential anguish, make Laid feel like the anxiety dreams of Charles M. Schulz. Palamides ranges from wide-eyed hurt whose offspring have to put on a brave face (at times literally) to wine-soaked grieving mom. There were many audience members who were burying their faces in their partner’s shoulders as the plot veered into unexpected yet inevitable territories. There’s a genuinely upsetting moment at around the midway point in the show, and long before the audience has quite recovered from the shock, it veers violently into an appropriately sick joke that invokes the spirit of a banned Monty Python sketch.

This is a genuinely special time at the Fringe, delivered by a supremely talented performer. It’s an hour of relentlessly funny clowning, but also of dark sorrow. After all, you can’t make a show this good without breaking some hearts. 

Reviews by Andrew Allen

Pleasance Courtyard

The Archive of Educated Hearts

★★★★
Pleasance Courtyard

The Pin: Backstage

★★★★
Pleasance Dome

The Lampoons: House on Haunted Hill

★★★★
Underbelly, Bristo Square

Foil, Arms and Hog – Craicling

★★★★
Gilded Balloon Teviot

Janeane Garofalo: Put a Pin in That

★★★★
C venues – C aquila

Hymns for Robots

★★★

Performances

Location

The Blurb

A one-woman show directed by Dr. Brown and written/performed by Natalie Palamides. A woman who lays an egg every day is faced with a tumultuous decision: will she raise her egg or will she eat it? Join her on her melodramatic journey of motherhood/breakfast, and find out exactly what it takes to be a well-fed mother. Natalie was named one of the New Faces of Comedy at the 2016 'Just for Laughs' Festival in Montreal, is the voice of Buttercup on the PowerPuff Girls and is a performer at Upright Citizens Brigade. “You could peg Natalie Palamides as the second coming of Kristen Wiig” (The Comedy Bureau).