by ⭐⭐⭐⭐½
Abby Wambaugh has fun mom energy.
And Wambaugh is a fun mom, coming up with games such as “Scare The Banana” to get one of their kids that also will delight all of the other kids in the neighborhood and the Attic of Pleasance Courtyard, too. This American born-and-bred nonbinary mother and wife to a Dane, now living in Denmark, has come up with a debut hour at Edinburgh that’s not exactly as gimmicky as the title may suggest.
Nor is it review-proof. Because certainly, you may think presenting 17 different show ideas in less than an hour is a way to preemptively cut off critics from hating any one of the ideas had you stuck with them. As Wambaugh says up top, the first three minutes are full of potential and possibility. And even if you didn’t like an idea, it’ll be over soon. But that’s not what’s going on here. Rather, Wambaugh has found multiple perspectives and entry points in the same story. Her story. What look like wild tangents reveal themselves to be ideal segues to continue the thread she’s pulling on her own saga about meeting her mate, getting pregnant, and moving abroad.
If you’ve read the show’s description, you’ll know that eventually, “Abby awoke in hospital after a late miscarriage and, high on anaesthesia, decided to become a comedian.”
Does that make all of the fun and games make more sense? Does it make it all more cohesive and full of metaphors? Yes and yes. But what’s most bonkers about the whole thing is the idea that Wambaugh only began her comedy career during the pandemic. Because this is such an entertaining, thoughtful, well-executed show for someone so new to this game.
If the Fringe doesn’t reward Wambaugh with at least a shortlist for Best Newcomer, then I will.
