Sarah Keyworth’s 2018 fringe show – which secured her a best newcomer nomination – fretted at the signification of the words “boy” and “girl”. A big subject, and one she clearly hasn’t exhausted, given that its follow-up, Pacific, harps on the same string. But from a new angle: this one draws on her relationship with fellow standup Catherine Bohart, in which Keyworth finds herself defaulting to the traditional male role. Or failing to do so, which frustrates her – and she’s not sure why.
Her reflections on the subject are thoughtful and fresh: she delivers them wearing the expression – and speaking in the deliberative tones – of a woman who’s still puzzling it all out. On one level, the show tugs on a well-worn strand of humour, as Keyworth plays henpecked “husband” to a high-maintenance wife, meekly accepting her role as part-doormat, part-dog. On another, it’s filled with novel thinking on how to divide roles and responsibilities in a same-sex relationship, particularly given Keyworth’s ambivalent feelings about masculinity, toxic and otherwise.
Should she be proud when – like a man – she barely notices being low-level sexually harassed? Should she be ashamed when – unlike a man – she cries all the time? As she teases out the answers with reference to a recent break-in, her partner’s hoarding habit, and her sex therapist granny, it’s a pleasure to tune in. It might be a greater pleasure were she to vary the tone or intensity a little – while the occasional familiar-feeling routine (her dad’s ignorance of pesto; the “which side of the bed do you sleep on?” chat) dilutes the novelty. But Pacific remains a strong sophomore offering from one of comedy’s most engaging new voices.
• At Pleasance Courtyard, Edinburgh, until 25 August.
