18 – 22 June
In the dim, fog-laden ambiance of Bristol Old Vic, High Steaks begins with a jarring image – a fleshy cadaver wrapped in plastic – setting the stage for a night that oscillates between the unsettling and uproariously real. As ELOINA (Eloina Haines) emerges, her expression caught in a spotlight through a shadowy crevice, she not only sets the stage for a performance, but also a profound confrontation with societal taboos. And then, she makes you laugh. A lot.
The show is a masterclass in minimalist design, punctuated by the initial plaintive cries and comedic wheezes of an accordion. ELOINA’s entrance serves as a powerful metaphor for breaking societal cover-ups about body image and beauty standards. She expertly weaves humour with personal stories and insightful critiques, reading the room with precision and allowing laughter to fill the space just when needed. Her direct interaction, “What does your labia look like?” isn’t just for shock value; it’s an invitation to break down personal barriers and engage in discussions often left unspoken. This interplay between visible physical realities and the typical absence of dialogue forms the heart of the performance, making every viewer a confidant and participant.
As the show progresses, ELOINA delves into heavier topics—body shaming, cosmetic surgery pressures, and culturally inherited shame. These themes are highlighted by moments where vulnerability transforms into a showcase of inner strength, supported by brilliant technical elements such as strategic lighting by Lily Woodford-Lewis and evocative soundscapes by Sammy Metcalfe and director Louise Orwin.
The inclusion of her mother in the show adds authenticity and depth, expanding the conversation to include familial and generational dynamics, creating an almost confessional atmosphere that bridges personal history with broader cultural critique. One memorable scene is a candlelit dinner in front of her grandmother’s portrait where the metaphorical and literal discussions over “beef curtains” serve as both a critique and a satirical take on societal views of female bodies. ELOINA’s handling of these moments mixes satire with sincerity, rendering complex subjects both accessible and engaging.
ELOINA embodies a spirit that is part revolutionary, part mythical, akin to a modern-day grape crushing Diana, navigating gender and identity with deep understanding and assertiveness. Her performance is a celebration of diversity, a forceful rejection of stigma, and a rallying cry for greater visibility and understanding.
Concluding on a reflective yet directive note, High Steaks leaves its mark not through preachiness but through the undeniable power of its creative expression. ELOINA doesn’t just ask what defines beauty; she demonstrates how challenging these definitions can radically reshape our understanding of aesthetics and worth.
High Steaks transcends traditional theatre boundaries, advocating a dialogue that is both necessary and long overdue. It challenges, entertains, and enlightens—a testament to Eloina Haines’s remarkable ability to connect and inspire change.
★★★★☆ Tilly Marshall, 19 June 2024
Photo credit: Parl_Matjaz Rust
