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Sarah Keyworth jokes that coming out as nonbinary means having pronouns of “there, there,” adding: “I can’t be trans because that would make me a straight white male comedian.”
But this self-described “boobless clown” keeps the laughs coming loudly and frequently in an hour navigating their journey through top surgery last year between their 30th birthday and their mom’s 70th.
Upon turning 30, Keyworth gagged at the suggestion of celebrating with a foursome, which sounded more like an unsuccessful game of “lesbian whac-a-mole.” Besides, why would they want to spend their milestone birthday trying to entertain and please others? Keyworth, a previous Best Newcomer nominee at Fringe in 2018 and winner this year for this hour at the Melbourne International Comedy Festival, brings our attention much closer to the vest and to the Keyworth family. There’s a running bit putting Sarah’s gender journey in perspective as wanting to be more like their older brother. Sarah also notes wryly how social media is a bit of a garbage fire, taking us through the typical comment thread that tears below any of Sarah’s clips. As much as any comedian doesn’t want to ever read the comments section, Keyworth does not that embroiling the masses does have its perks. “Acceptance is cheap, loathing is where the money is.”
There’s a twist to this hour, and it’s indeed a titty twister. But not like that. Turns out the Keyworth matriarch survived breast cancer 20 years before Sarah underwent elective double mastectomy, and so mother and child can relate to each other on a much deeper level now. The acceptance from family is heartwarming to hear, but it’s not going to buy Keyworth a house.
Perhaps further comedy festival awards prize money and social-media traction will have to suffice.
Sarah Keyworth “My Eyes Are Up Here” plays at Monkey Barrel Comedy (with added shows at Pleasance Courtyard) during the 2024 Edinburgh Fringe
