It’s interesting to note that for whatever reason weird stomach growls could be heard from where I was sitting just prior to Victoria Healy’s Anatomy. I doubted it was some sort of avant-garde soundtrack the audio tech had decided to put on prior to Victoria coming onto stage, because there was no sound-person, it was all done by Victoria herself. That’s the spirit of Fringe right there.
Despite that weird awkwardness of Healy adjusting her own levels, the show itself was an interesting trip through all the parts of the body we feel icky about. From the awkward arms to exercises with her stomach she gave us story after story that showed refreshing originality. Healy at points went into the blood and guts of how her body works at times, but those parts don’t stick out as something to have squirmed at, despite the warnings that there could have been extreme descriptions yucky functions of our bodies.
There’s a breezy nature to Healy’s presence on stage. She is amazingly at ease, delivering line after line without any kind of hesitation at all. She put herself in charge of the room right up until the end of the show when she went back to the sound desk, pulled her fader down and asked a member of the audience to turn the light on again so that they knew to leave. This was a pleasant, homely experience for a comedy show, which is a little odd to write, but this was a good type of odd.