Theatre 3, theSpace @ Surgeons Hall
Aug 22nd, 2024
On this my final day at this year’s Edinburgh Fringe I was there to see one Aude Lener, a French actress, play her socks off in a solo comedy play called ‘Love Reboot’. She was at last year’s Fringe in a show called ‘On edge’ a show that did well in her comedic vein of writing.
The room was draped in black with a small space, as she came on she used all wisely. Dressed in white top and jeans it began with a little mania, and rush about her. ‘Love Reboot’ was to raise the game at this Fringe and I feel I’ve seen the perfect performance for the Festival.
She took you in making acting inroads into very smart joke telling so well embellished in the show. It was also one of the most carefully done utilization’s of stage presence; she could widen or shrink at will. In a good pace she changed things up with her bountiful facial characterizations, and speaking with a French accent in ways that easily portrayed a great many characters.
She had come up with such a large palette to tell her stories of love’s smiles and embraces fears and challenges. Organizing a show into an hour, we could have enjoyed three of, where making a point had to happen at the right time, as with that most beautiful word love.
With all the physicalities being brought through her she didn’t miss a thing, playing her characters with willingness rare, sometimes contorted as she seemed to become beside herself but maintained throughout a great sense of humour (I mean that to the greatest sense) with that care that made things so much a pleasure.
Her work as an actor whose artistry burst through in a performance that could rival anything seen on a greater stage, hence her Fringed perfection. As she evolved so did her story’s and state’s of play we could only become all the more involved. She even interwove a great sense of tidying up all messes made by proceedings, winding up in church with the memories of an Aunt she loved.
This was an act in the throes of readiness to love, to portray love in all of its realities, from the first to the end to how much we are in its arms, just wanting it that bit longer. There was no contrivance on stage, no need to be anything outside for effect, yet she told her tale ready and fit for any stage. With the up’s down’s and the greatest frowns, done so well she never lost diction, her timing a truth to be told.
Making fun of life with a sparkle in her eye, and in darker moments making fun of the natural stillness life can potentially, and realistically, be. She opened our eyes through the pivotal use of plot where we saw a woman enhanced, a young girl inspired or a human being in the sight of…well…love.
A well laid out Love Reboot to refill senses, accept challenges and learn the courage to race past things that could only snag you anyway. Hands on, fire cracking, turbulent comedy, gracing the Fringe with a wide reaching play.
Daniel Donnelly
themumble.uk 