It’s always a pleasure to see a show that has its finger on society’s pulse whilst seemingly having one foot in and one foot out of sympathy with the zeitgeist. I use the term, ‘show’, since we’re talking about something that more resembles an extended sketch show, the sort of satirical skit one might have found (back in the day) in That Was The Week That Was, or, Not the Nine O’Clock News. Characters are stereotypes, but comfortingly recognizable for that. Snowflakes, wokes and general moral supremasists get a mild lampooning in the office of a PR/talent company that specializes in monetizing the latest online fad by playing on the guilt feelings of the sensitive. The message of the show, for it really does have a message that’s easy to grasp, is that the amoral sticky fingers of the manipulators can have serious consequences. In an age of super-sensitivity it’s a salutary perspective. I won’t give out the spoiler other than to say that the dark twist at the end doesn’t come out of nowhere, but is unexpected nonetheless.

FlawBored who produce the show is an ‘inclusive’ company that wears its heart on its sleeve and has disability in its DNA. Unfortunately the unsighted member of the cast was off sick so his role was played by Philip Olagoke, who stepped in with minimal rehearsal, book in hand. It didn’t effect the running of the show which in any case has the benefit of video captions for deaf/hard of hearing members of the audience. The beginning of the show is taken up with some knockabout stuff about disabilities and their treatment by society in general which the audience seemed to find hilarious, but left this reviewer unconvinced.

Moving into the sketch itself, Sam Brewer plays a manipulative Auzzie with an eye permanently on the main chance, with Chloe Palmer as the supersensitive pin-up girl for moral purity who can’t apologize enough and is reduced to saying sorry not only for her current inadequacies, but also for what she might become.  Sam decides the next seam of cultural sensitivity to be mined is ‘Ableism’ and persuades a reluctant and skeptical Philip (originally a blind actor remember) who has written a book (ghost written that is) to front a campaign to get the public digging deep into their pockets. As I mentioned it becomes far too successful with tragic consequences.

The show is a sharp poke in the ribs for a section of the culture that deserves all the ridicule it attracts.

★★★☆☆   Graham Wyles   26 March 2024