• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Tickets

Ursula Martinez: Free Admission at the Soho Theatre

February 10, 2016 by Alex Wood Leave a Comment

Review of: Ursula Martinez: Free Admission
Produced by:
Soho Theatre

Reviewed by: Alex Wood
Rating:
3
On February 10, 2016
Last modified:August 10, 2017

Summary:

More Details

Ursula Martinez’s Free Admission is a one-person performance that actively defies any attempt at ‘conventional’ categorisation. It tiptoes very deliberately along the fine line between absurdity and reality, reflecting of course, how frequently the two overlap. Her current run at the Soho essentially consisted of an hour of anecdotes, insights and reflections, each rapped off one after the other with almost every sentence beginning with the word ‘Sometimes…’. The lilting structure created a warped, almost transposed form of observational humour. The mingling of anecdote and insight is theoretically comedic, but in actuality is far more complex than this: a constant juxtaposition of tragedy with laughter-demanding witticism meant the show ends up consistently, and deliberately it seems, undermining its own notion of comedy.

It is an accomplished albeit unsubtle tactic. The oscillation between humour and deadpan reflection means that audiences are confronted with truths about racism, sexual assault or sexism, as well as countless other pressing topics that are indeed necessary issues for debate and performance. Given the cursory and expansive way in which Martinez presented herself however, she never really seemed to confront the wider permutations and intricacies of the issues she discussed, but instead ensconced them in fresh doses of comedy. The show inhabits a space that is a reaction against the fallacies of reality, rather than one that confronts it. The didacticism that Martinez supposedly aspired towards felt largely undercut by an underwhelming structure: simply naming and listing various injustices did not feel like going a long way to showing the true seriousness of their existence.

Ursula_Primary-resize-e1455104930979

While this was certainly problematic, Martinez did succeed in a number of respects. Free Admission managed to show the manifestations of the true absurdity of reality – be they funny or not. In a show laden with truisms, it is only right and correct that some of these reflect deeper and less heartwarming truths. For the most part, of course, this is a scintillating performance, but one that actively tries to come with a hard edge. Not all of it, it must be said, was loaded with commentary and incisive attack, with some fantastic one-liners: ‘Sometimes, I was convinced my ex-girlfriend deliberately faked not having orgasms’.

By far the most intriguing and inspired aspect of Martinez’s show is her choice to deliver almost all of it whilst constructing a solid brick wall onstage. Emerging with a tray of cement and a hidden pile of bricks, understatedly and methodically she slowly but surely piles the bricks on top of each other, and, with each brick laid, we as an audience are able to see less and less. It is a fantastically ambiguous symbol, and can be read in a volume of different ways: an appropriation of a masculine stereotype, an active defiance of the audience by interfering with their ability to see, a sad reflection of ideological divides? Or maybe even a literal fourth wall constructed on stage? Every interpretation is potentially valid, and there was certainly a rhythmic soothing to the process of watching the wall being built.

Yet for all that, as a naked Martinez strolled defiantly out onto a wet Soho street to the sound of the Rocky theme, the performance somehow felt as though it never quite hit the nail on the head. For the most part it was pensive, or contemplative, and despite its ending, it felt as though Martinez never managed to issue a rallying cry she was aspiring towards. Instead, she held up a bluntly accurate mirror to the audience, and it was an hour of revelation at its most cutting.

Author: Alex WoodAlex is the former reviews editor at Theatre Bubble, but since changing position now contributes occasionally. He has been writing reviews for a number of years, as well as seeing his own shows performed. He has produced and marketed a number of performances at venues in London, Oxford, Edinburgh, including the world premiere of Philip Pullman's The Ruby in the Smoke.

Filed Under: Review

Join the discussion Cancel reply

INTERVIEW / Silent Faces on Godot is a Woman’s first UK Tour

Silent Faces return to the stage with their signature style of playful and political physical theatre, interrogating permission, patriarchy, and [Read More]

INTERVIEW / Max Rinehart on The Retreat

We spoke to actor Max Rinehart about his experience working on the European premiere of Jason Sherman’s The Retreat at [Read More]

NEWS / Frozen Light celebrate 10 years with Sensory Symposium

The UK’s premiere company for adults with profound and multiple learning disabilities invites industry professionals of all genres and sensory [Read More]

INTERVIEW / Jenny Foulds on Life Learnings of a Nonsensical Human

Performer Jenny Foulds tells us about her forthcoming one woman show Life Learnings of a Nonsensical Human, coming to the [Read More]

INTERVIEW / Monique Touko on We Need New Names

We Need New Names is a defiant and exuberant coming-of-age story follows a young girl from the playgrounds of Zimbabwe [Read More]

Top Posts & Pages

  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Katy Owen: Auditioning for Oxford School of Drama
  • Does Small to Mid Scale Theatre Touring Actually Work?
  • 5 Tools for Actors to Enter the Theatre World like a Pro
  • Inga Björn and Kristiina Tammisalo on Receptionists
  • Yasmin Paige on Actually
  • Q&A: Daniel Donskoy on A Song Goes Round The World
  • Spotlight On: The London Clown Festival
  • Lily Bevan talks about Zoo
  • The Suicide at the National Theatre
  • Alex Wood
    Contributor

  • February 10th, 2016
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2023 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!