When drag began to establish its presence in the Fringe beyond routines within cabaret shows, it often suffered from a lack of structured productions and flimsy concepts. Ryan Stewart, however, slips into the bedroom of the artist, leaping between reflections on family life, the symbolic meaning of the drag storytelling session, the tensions between the performer’s tough exterior and their private softness.
That the title is most likely an etymological pun (on kindness, the German for children and the idea of kinship) sets out Goody Prostate’s stall. Despite being a monologue, Goody is in conversation with parents, with memories, even history and language. Having been called upon to read at a storytelling hour, and having been told that there will be protestors, Goody questions the purpose of the gig, recognising the link between modern censorship and the Nazi book-burnings which were, above all, transphobic.
Yet the meandering reflections wear their learning and seriousness lightly. Departing from the drag default of kitsch, Goody is sentimental and sensitive, finding time for dynamic dance routines and costume changes that rupture the intimate atmosphere. The tension between performance and personal is exploited for emotive and intelligent questioning and Goody is a good time and a good person, weaving through complexity with grace.
KINDER, Underbelly Cowgate, until 24 Aug (not 6, 13, 20), 6.40pm