What I liked
The best onstage breakdown I’ve seen in five years. Slürt’s heartbreak is as gut-wrenching as it is hilarious, relatable as it is garish-grotesque.
Even as the story follows the comforting formula, the content feels fresh and the emotions are always raw. The gibberish is well used, the clown’s adaptability shining with learned integration.
Maverick is skilled when it comes to audience connection; existing with us, in the moment for the full 60 minutes. Her invitation to play is fun and flirtatious, and she celebrates her volunteers and their choices.
What I didn't like
There’s an awful lot of purposeful meandering which could be tightened for brevity and clarity, and while this show has some of the best projection backdrops of HFF25, I would love to see the projection continue throughout each outdoor setting – (imagine the cityscape changing behind our hero and her Bob, the characters not having to walk awkwardly in a tiny circle, with less time facing upstage).
The rules of space work are not clearly defined and as a result the pantomime falls on the side of sloppy. This highly skilled performer might consider honing this area of clown craft or take the deliberate choice to disregard convention to a greater extreme for a richer experience. But in all, a delightful performance and highly entertaining piece!
My overall impression
Visceral as it is absurd, Emily Maverick’s clown is a hot mess of sweet fluff. Slürt is a hero’s journey of self discovery, connection, heartache and healing, with fake snow and interactive penguin karaoke. If Jane Krakowski and an attic ferby had a love child, it would be Slürt.
