EdFringe 2019 Review: Séayoncé Déjà Voodoo

Séayoncé Déjà Voodoo

Rating: ★★★
Venue: Assembly George Square

Daniel Wye’s comic drag creation Séayoncé stars in her latest show, Déjà Voodoo, a high camp séance which sees her go head to head with the devil. Wye’s rapid-fire comedy and intelligent ad-libbing helps this stand as one of the Fringe’s most manically fun comedy shows.

Séayoncé’s gifts are on display throughout Déjà Voodoo as the psychic connects audience members with dead dogs, ghosting ex-lovers, William Shakespeare and even Satan himself. Held together with a loose narrative thread, Déjà Voodoo is at its best when it allows Wye to simply have fun and enjoy himself.

In the Assembly George Square venue, a voiceover notes to prepare for the arrival of Séayoncé – we look behind, along the stage and the performer emerges from a very unexpected place to much madcap comic fun. Bouncing straight into an introductory musical number Séayoncé begins to interact with her audience. Asking if audience members have been ghosted – leads to a dick pic emerging from the afterlife. Gags about dead dogs and William Shakespeare’s literary skills amuse – the latter leading to a fun spot of puppetry.

Yet Séayoncé Déjà Voodoo is at its best when Wye ad-libs. A faulty amulet becomes a recurring comic delight showcasing our star’s speedy improvisational skills and natural warmth and wit. These moments when Wye breaks free from his loose narrative are enjoyable, provoking big laughs from the very game audience. This narrative which sees Séayoncé being possessed by Beelzebub has some gentle laughs (especially a section as a possessed Séayoncé reveals all the cruel things Satan makes us do “like when you need a poo after you’ve showered.”) This narrative doesn’t pack the same comic weight as the prior style of Déjà Voodoo which is more centred on Séayoncé showcasing her “gifts”.

The latter act of the show has a higher emphasis on physical humour – the appearance of bums and balls is an unexpected turn and does cheapen the previously intelligent and warm humour of the show. Déjà Voodoo does however have its heart in the right place, a message of acceptance and pride showcased in a final musical number is a nice touch – as is a last minute Béyoncé lip-sync.

Séayoncé Déjà Voodoo impresses thanks to Daniel Wye’s quick-fire improvisational talents and by cleverly finding comic angles in the occult.

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