As we were ushered into the Alexander Studio at The Lowry we were told that Eleanor had requested that we sit in the first 3 rows. A small tingle of dread ran though me as I knew that we were being set up for some audience participation, not something that many of us Brits are always up for. The Studio is only a 150 seat venue, so I knew that the evening was going to be intimate, I just hadn’t bargained on how intimate. Eleanor’s show is not for the faint of heart, she does not hold back.
Her set began by getting to know the audience, highlighting what an odd mix we were. Predictably, a predominantly female bunch, but amongst us were “The Factory Boys”, 2 work friends on a rare night out together (one works days and the other works nights); a couple who’d been married for 24yrs, the husband quite clearly not fully aware of what he was letting himself in for; and another couple that admitted they’d left a wedding reception to come to the show so as to avoid having to participate in a ceilidh.
Conway’s debut show, Walk Of Shame was a frank, but funny depiction of her past as a party girl sharing all about her addictions to sex, drugs and alcohol, and how she became sober, so Walk Of Shame 2 was never going to be tame. The cornerstone of her 60 minute, high energy show was her promiscuity, and the scene was set when audience members were interrogated about their use of sex toys. Her honest and brash approach to discussing menstruation and her rampant sexual antics clearly made a number in the room feel palpably uncomfortable, including the "ceilidh couple” who now found themselves involved in something altogether more mortifying than a Gay Gordon!
Part way through the show she touched on the fact that because she is so willing to talk so candidly about her sexual exploits, it can invite unwanted advances and taking on a more serious note she stressed that no matter how "up for it" anyone is at the beginning of an encounter, consent can be withdrawn at any time and that should be upheld. An important point to make regarding boundaries, especially in the wake of #metoo, but it was then somewhat diluted as she recounted a tale of an evening in Australia where things went pear-shaped, nevertheless she obliged to attempt to satisfy requirements.
Her content was relatable, in a distant-memory-of-hedonistic-student-days kind of way, and as funny as she was, I didn’t find myself laughing out loud. I can’t help but think that Conway’s stand-up routine would be better received by a less inhibited, younger audience, after a few pints, in a less formal environment.
Reviewer - Becs McNeill
on - 18/5/19
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