Comedy Festival 2018: Katie Reddin-Clancy’s personality split six ways in Grace ★★★

A REMARKABLE performer, Katie Reddin-Clancy delivers a one-woman/six-character show about self-worth and showbiz that comes good despite some wobbly exposition and expendable stretches.

WE’RE in a musty regional theatre and the prissy manager, Sheryl, has some bad news: the highly anticipated act we’ve been waiting for is having trouble making the stage because of a crisis. So, to kill time, let’s rip with some topical gags and hope things come together.

A neatly etched figure of poise and pretension, Sheryl is but one of a bevy of characters inhabited by British actress Katie Reddin-Clancy, a remarkable and versatile talent who sets herself a very high bar indeed.

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With the aid of some quick, on-stage costume changes she conjures a host of comic archetypes, our guides on a journey through the travails of show business. These include ghosts, a deliciously acerbic talent agent and a nervously self-conscious star.

Grace is a collision rather than a blending of theatre and stand-up that makes for an enjoyable if bumpy ride.

As a stand-up performer, Reddin-Clancy has a flair for bon-mots, sharp one-liners, word play and comic commentary, most of which circle around the themes of performance, failure, artistic struggle and the slog of being a jobbing actor. “Art does not fill the fridge,” she sagely proclaims at a one point. The assembled crowd of 15 responded loudly to each barb and witticism, sometimes with applause.

Particularly impressive was her killer routine as agent Anna Clamber and the curt deconstruction of girlhood icons such as Barbie and Cinderella.

Katie Reddin-Clancy as two of her charactres in Grace.

As a storyteller, however, she needs to tighten the nuts on her narrative. Managing six main characters in one hour is a tough sell and there are moments where Reddin-Clancy struggles with over-reach.

Twists in the story’s premise take too long to establish, leading to moments of confusion about precisely what is going on. Her exposition needs clarity; anybody coming in cold to Grace will likely spend several minutes trying to figure out which way is up.

There’s a case that shedding one, possibly two of her characters would keep the story more on point. And while it’s a strong performance, there are stretches where Reddin-Clancy’s energy flags, turning monologues into rambles.

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Fortunately, everything comes together for a finely honed finale where the themes of ambition, self-worth and acceptance are woven into a moving reflection about the difference between living to act and acting to live.

It’s here Reddin-Clancy’s skills as a writer come to the fore and where the show’s combination of styles really clicks.

Grace comes fresh from a successful run at the Adelaide Fringe and marks Reddin-Clancy’s return to Melbourne after five years, when her 2013 ComFest show Kate Middleton — Show Queen was a hit.

Here’s hoping she doesn’t leave such a lag next time.

Katie Reddin-Clancy, Grace

The Butterfly Club, Carson Place, 5.30pm until Sunday

comedyfestival.com.au