FRINGE REVIEW: BAGGAGE LIMITBAKEHOUSE THEATRE, 2020

Sydney based performer Peta Morris embodies a range of characters to address some complex issues in her one-woman cabaret show Baggage Limit.

The performance begins with her emerging out of her mother’s vulva, which is an unexpected, yet quirky opening.  From there, the audience members don’t know exactly what to expect from Morris, but it is certainly an interesting ride.

The performer then tells stories of familial relationships, each from the perspective of the ones that went before her; Morris using minimalist props to identify their characteristics.  

We are then introduced to her two alter egos – Wayne and Sharon.  Wayne plays on Morris’ darkness anxieties, while Sharon is the evoker of calm.  Through this representation, Baggage Limit addresses the inner dialogue we all endure, but does so in a comical way.

Morris launches into song sporadically throughout the show, which is clearly a hallmark of cabaret, but this often detracts from the subtleties of the narrative and the weight of the acting performance.

There are highs and lows throughout Baggage Limit, but even in moments of comic relief, the more serious issues of mental health, sexual assault and crisis of identity are never far from the fore.

Morris’ work will be challenging for some, and may not be to everyone’s taste, but for those who like their Fringe shows on the quirkier side, then you’ll enjoy the performer’s latest offering.

3 stars

Baggage Limit will be at the Bakehouse Theatre until Saturday March 14th. Tickets can be purchased here: https://adelaidefringe.com.au/fringetix/baggage-limit-af2020

By Rachel Gould