Hannah Gadsby: Nannette, 1730, Assembly George Square Studios
Unusually for me, I knew what to expect with this show. Ordinarily I wander in, based on just a name or a recommendation from one of those funny fuckers I know. This show, though, this one is different.
I’ve been looking forward to seeing Hannah since I fell in love with her character on Josh Thomas’ utterly brilliant sitcom Please Like Me (a show so wonderful I gave up my 2-year Am*zon boycott to watch the final season). I’ve been looking forward to this show in particular since April, when Hannah featured in an episode of ComComPod. This show is for me.
I know the premise, that Hannah Gadsby is giving up comedy. I know a lot of her stories, because I’ve seen her YouTube clips, heard her podcasts and appearances on everyone else’s. I feel like I know her. Which I now realise is somewhere between arrogant and ridiculous. The show was a bit like seeing the film of a book I love. It was very much a thrill for me to be in a room with her, just a few feet away in fact. Not in a creepy way – as if there’s an uncreepy way to try and absorb someone’s aura.
Hannah Gadsby is brilliant. The show is very funny. Up to a point. And after that point it is occasionally funny. But Hannah is giving up comedy because she’s so angry, she’s no longer able to make it her job to ease our discomfort. She’s honest and raw and I cried and haven’t really recovered. I don’t want to give anything else away. I want you to see this show. As is often the case, the people I most want to see this show are the least likely to – to choose to be shouted at by an angry lesbian. But she has something to say and you need to hear it.