Overflow – Bush Theatre, London

A review of Overflow, a witty and energetic new play at the Bush Theatre. Through stories of friendships and toilets, Travis Alabanza encourages us to really think about the meaning of these spaces for trans women and transfeminine people.

Overflow

Overflow, by Travis Alabanza and currently being performed by Reece Lyons at the Bush Theatre, is a clever piece of theatre. Trans woman Rosie is cornered in a toilet cubicle, trying to wait out the threat of violence outside the door. In the meantime, she shares with the audience various meaningful moments in her life which have also taken place in bathrooms. There are the times she was accepted into the ‘sisterhood’, complete with beauty consultations. The heart to heart conversations. Also the times her presence there was challenged, the sisterhood suddenly gone as the other women present looked at their shoes rather than stepping in. Rosie’s experiences run the full gamut.

Alabanza has knowingly written Overflow for a predominantly cis audience. A key message of the work is about trans allyship; through the course of this hour-long monologue we catch a glimpse of how unwanted gazes impact those who are gazed upon. And how there is more to being a true ally than bailing someone out when they are drowning. An apt metaphor, as the waters in Rosie’s club toilet rise. Bathrooms have become such a contested space and battleground for trans rights that Overflow almost couldn’t take place anywhere else. But the key here is that, in the end, Rosie is sick of being rescued. Like her speech about the “preemptive piss”, it is within her power to be in control (and revel in it).

A Powerful Piece of Live Theatre

Overflow reopened the Bush Theatre back in December, before its run was cut short due to lockdown. The production pivoted to an online version, but my advice is to see it live if you can, even if you have seen it digitally already. There was a great audience energy when I saw Overflow, which was fun to be a part of. This is also a work which evokes so well certain experiences you can’t have remotely. The feeling of power of going on a night out. Making a new best friend out of a total stranger after a chance encounter. Being part of an audience watching Rosie describe these things creates more of a sense of shared experience and interconnectedness than watching alone. I also picked up on a few subtle changes since the earlier run; it seems the time away from the stage has been well-utilised.

In case you can’t tell from the images, this is also a fun production to see live and a great use of the Bush Theatre space. Max Johns’ design, with its candy colours and cool club vibes, matches perfectly with Jess Bernberg’s lighting design. Debbie Hannan, directing, ensures the right amount of light and shade and, with Lyons, brings the humour of the piece to the forefront. Like Singing in the Rain it may be advisable to bring a poncho if you’re sat front and centre. But what is a flooded bathroom metaphor without a little risk to the audience? (I’m exaggerating a little for dramatic effect here, just the odd little splash that I could see).

You have just over a month to catch Overflow, so get booking!

Salterton Arts Review’s rating: 4/5

Overflow on until 9 October 2021

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