WET performed by five females of the Perth based performance group, The Hairy Godmothers, was a show celebrating what it means to be a woman, physically, culturally, emotionally and historically. The Hairy Godmothers is a powerhouse collective of West Australian performers and creatives from diverse backgrounds, including theatre managers, engineers, actors, dancers, teachers and poets. Their mission is to take audiences just beyond their comfort zone, then bring them back again safely, but a little open minded.
This adults-only, all-female show, performed by Jae West, Ashley Nissen, Mita Hill, Alex Nissen, and Emma MacMillan, balanced moments of empowerment, hilarity and heartfelt sincerity, weaving together comedy, music, dance and theatre into an experience that was bold as well as touching. It also provided social commentary on beauty standards, female contraception, gendered dress codes and even a lecture on quantum mechanics!
The show also took a bold stance on female sexuality, challenging the stigma placed on women who embrace their pleasure. Their response? A defiant and celebratory “Pleasure is our damn birthright!”—a moment that perfectly captured the show’s unapologetic spirit.
By far, the highlight of the show was an original song about how “history was an arsehole to the clitoris.” What made it so memorable wasn’t just the sharp, clever writing, but the performer’s incredible characterisation. She fully committed to the absurdity of the piece, delivering it in a hilariously exaggerated voice that made the historical references both comedic and eye opening. Her fearless commitment to character made the performance feel both ridiculous and brilliant—I laughed until my tears ran down my face, wishing the song would never end!
One of the shows downfalls was its dance aspect. Backed by a poignant live rendition of ‘Lost Without You,’ by Freya Ridings, the scene attempted to capture the crushing weight of beauty standards. What should have been a powerful and emotional commentary, depicting a woman comparing herself to a mannequin, unfortunately missed the mark. From a trained dancer’s eye, some problems with technique and form took me away from the message that was intended to provoke thought and engagement; however, to the untrained eye, this might not have been an issue.
Near the show’s end, a performer selects a mother from the audience and, with unwavering eye contact, delivers a sentimental, handwritten letter about the profound complexities of motherhood—the joy, the pain, the fear, the highs, and the lows. Her gaze feels almost soul-piercing, as if she is delivering the message directly to the mother’s heart.
While the letter is beautifully crafted and deeply moving, it is introduced as a tribute to all mothers, with the assumption that everyone in the audience might relate simply because they have one. However, this overlooks the reality that not everyone has a mother figure in their life or may have a strained or painful relationship with their mother. In this way, what was intended as an inclusive and heartfelt moment risks feeling somewhat thoughtless for those for whom the topic is deeply personal or difficult.
This show is bold and unapologetic, offering moments that can be confronting and not for the faint-hearted. For people who are sensitive to expletives and coarse language, this probably isn’t the show for you. Although WET might have had some weak spots in terms of form and delivery that obscured the artists’ intent, it also had brilliant flashes of hilarity, driven by sharp writing and fearless performances.
SINEAD HARTE
WET was presented by The Hairy Godmothers at The Royale Theatre at Planet Royale for FRINGE WORLD. For more information about this past event, click here.
