Edinburgh Fringe comedy review

Even before we start, the stage of Assembly Roxy is a visual feast, full of clues to the spectacle Swiss-Mexican clown Paulina Lenoir is about to unwrap. With a strong black-and-red gothic-flamenco aesthetic, extravagantly frilled and hooped dresses hang all around, with a display of plump red roses taking centre stage.

Through the alter-ego of melodramatic but taciturn poet Puella Eterna, she promises a whole life in 50 minutes, born from the universe and returned to it at the end.

We go through the ages of woman, through puberty and ‘I-can-do-what-I-want’ adolescence to finding love and a job and onwards into menopause. Though the gap between that and death is worryingly small.

With clear echoes of early Julia Masli before she hit on her unique agony-aunt format, Lenoir employs techniques many a clown does, such as having her adult head on a tiny baby’s body, or using minuscule doll’s hands in place of her own. 

There are charming audience interactions, from asking us our definitions of love to seeking our reassurance when she feels her life is a mess, every exchange nudging the show in a slightly different direction each night. So far, so playful – par for the course for such shows.

But what sets Puella Eterna apart is Lenoir’s commitment to the performance, the satisfying story, and the stylish look and atmosphere of the piece, immersing you in her otherworldly but still very recognisable universe. This show may have the best sound design of any comedy on the Fringe, while each stage of life requires an elaborately stylish new frock. 

Her connection with the audience is skilfully forged, too. As Lenoir seeks our guidance through her life, it leaves us feeling as if we’ve shared a meaningful  experience with the titular eternal girl, not just shallow fun and games.

The absorbing show is as stylish in its execution as it is in its aesthetic, and is an utter delight.

Review date: 18 Aug 2024
Reviewed by: Steve Bennett
Reviewed at: Assembly Roxy