Performance artist, sex clown and ecosexual Emma Maye Gibson returns to the Edinburgh Fringe with a new show which she describes as a “composting” of herself. Merging dance, live music and bold physicality, Gibson explores themes of domestic violence, justice and grief with a characteristic intensity and humour.
Gibson’s previous Fringe performances have been in character as her drag alter ego Betty Grumble. This time, Betty is a mask and an outlandish mutant wig that can be donned by Gibson or her assistant Craig, an outward display of bravado that hides the human vulnerability within. However, Gibson becomes truly vulnerable on the stage tonight, literally baring all in a physical sense, but also emotionally. She relates her experience of taking an abuser to court, and being dismissed with the words “hell hath no fury like a woman scorned”. She also pays tribute to “one of the greatest loves of my life”, Palestinian-Lebanese poet and activist Candy Royalle, who died around the time that Gibson went through her court case. Despite being accused in court of being out for revenge, Gibson assures us that peace and love is the answer, using a powerful rendition of Royalle’s poetry to make this point.
Although the show deals with intense themes, there is a lot of lightness and humour as well. Gibson has a knack for getting a crowd on side, whether leading an impromptu aerobics class or encouraging an audience member to apply her make-up. She checks in regularly and encourages people to step outside or look away if it all becomes too much. There is also a heavy emphasis on pleasure. Oxytocin, serotonin and dopamine are all name checked, and the scent of burning frankincense and the pink lighting bathing the stage add to the atmosphere. Central to the performance is a cathartic pleasure ritual which serves to wash away grief, accompanied by Craig on guitar and the audience on percussion. This is perhaps the most extreme part of Gibson’s show, but it doesn’t feel included purely for shock value. As she says, “who made bodies a rude and dirty thing?”.
Credit must be given to the aforementioned Craig, who remains totally impassive throughout. The musical accompaniment adds to every aspect of the performance, and Craig’s deadpan interjections often lighten the intensity of the moment. There’s also a well timed ending sequence with a pint glass of water, adding humour to a wild dance. Gibson is not afraid to be grotesque and clownish in her movements, but her exuberance is infectious as she slides about the stage like a penguin on ice. There’s UV paint, confetti, and a “pussy print” for anyone close enough to the front to grab one.
This show won’t be for everyone, but in succeeds in being both rebellious and deeply moving. Join Gibson in a howl of rage against the patriarchy, and you will leave feeling inspired and ready to make change.
“Betty Grumble’s Enemies of Grooviness Eat Sh!t” runs until 24th August (not 12th or 19th) at Assembly Roxy – Upstairs, with tickets available at www.assemblyfestival.com
Reviewer: Torya Hughes
Reviewed: 8th August 2025
North West End UK Rating:
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