Brighton Fringe review by Steve Bennett

The cavalcade of caricatures in Alice Marshall’s debut showcase have a nastier edge than most, so there can be no accusations of misrepresentation when it comes to the title. Yet despite demonstrating a mischievous sense of humour and impressive acting chops, this former Newsrevue member hasn’t yet found the defining character that will be remembered long after the hour is done.

The closest is our guide through the evening, the stern Greta Medina, a black-clad ice queen with a blatant distain for humanity, this audience included. She tells us to trust no one and love no one, as you’ll only get hurt – a message delivered with a quiver of waspish put-downs that set the tart mood for the night. 

Medina can be deliciously arch, though after the opening segment her contribution is limited to introducing the videos to cover costume changes. These are usually amusing vox pops recollecting bad dates, abysmal parenting or brutal exes that establish the subject for the subsequent sketches.

The intolerant Medina makes her comeback at the end in the role of relationship counsellor – for which she is spectacularly ill-equipped – coaching the cripplingly shy Louisa ahead of a date, hoping to improve on her usual flirting technique: barking like a seal at her potential suitor. Louisa is a gnarled character which allows Marshall to indulge a more outwardly grotesque side, where most of her alter egos are only ugly on the inside.

Selfishness pervades all her other creations, such as the drunk and promiscuous grande dame Unity De La Touche, an aristocratic bon vivant now a permanently sozzled pain in the backside, a well-worn archetype who’s probably the weakest alter-ego on display here, certainly the one with the least surprises.

The narcissistic, handsome young actor giving stand-up a bash with the sort of mild social awkwardness that can be packaged as charm is a neat take on the world of stand-up – though she sensibly ditches him quite quickly before the solipsistic comedy-about-comedy trope outstays its welcome.

But no one is more dark-hearted than Cheryl with the good hair, an interpretation which plays on the familiar idea that the beauty of the soon-to-be-former Mrs Fernandez-Verscini  makes us forget some of the less salubrious episodes of her past. The narcissism, and the cartoony Geordie accent, amuse, but again Marshall’s portrayal could use some depth.

Vicious is flawed, then, but a more-than solid first effort; and with plenty to appeal to the casting agents, should that be Marshall’s aim. Being photogenic, versatile and willing to sacrifice dignity for a gag is definitely a marketable triple-threat.

Review date: 12 May 2016
Reviewed by: Steve Bennett
Reviewed at: Brighton The Warren