Two Solo Acts, One Big Impact
From absurd ancient satire to searing courtroom drama, The Golden Ass and Prima Facie prove that one-person shows can pack a punch. Each vulnerable and powerful performance offers bold, distinctive takes on justice, identity, and the human condition.
When I think of a one-person show, my millennial brain takes me back to Susie Myerson– I mean, the bitter woman on stage in that one episode of Friends, where Chandler ends up solo to watch Chapter One: My First Period while the rest of the gang hits Joey’s soap opera party.
One-person shows have come a long way since. Recently, I had the chance to see two very different but equally compelling performances at the PumpHouse Theatre.
The only thing I didn’t love about this double-header was the two-hour gap between the shows. There isn’t really anywhere nearby to dip into for a light snack, so plan accordingly. Personally, I think a one-hour intermission would’ve been plenty – just enough time for a walk around Lake Pupuke without losing momentum.
The Golden Ass
I kind of prefer going into these things not knowing what to expect – it somehow feels like a richer, more raw experience. Michael Hurst’s portrayal of not just one but a whole cast of characters – I actually lost count – was seriously impressive. It was weirdly hilarious and, albeit a little “old-timey” (as my friend noted), it somehow worked. The audience laughed aloud throughout, with the occasional snort or two.
So many lines stuck with me: “sexy pins and needles” and “evil potato face” were two gems. Hurst did a lot with a little.
He somehow wove bacon and eggs, orgies, Cirque du Soleil, beaver testicles, and even “poonami” (yes, that’s feces + tsunami) into one epic, chaotic series of unfortunate events. Shout out to Canada for unintentionally inspiring what felt like a surreal love letter to the motherland.
And yet, it held a deeper resonance. Could those words really reflect “a political and social commentary on socioeconomic status and divide”? That’s what I jotted in my notepad, at least.
Whenever things got particularly absurd – as they often did – Hurst leaned in, breaking the tension by poking fun at himself. There’s a certain prop moment you’ll never unsee – trust me. Or don’t. Just go see it for yourself.
It’s probably the one time you should assume a show will be hilarious. It truly does make an ass out of u and me.
Prima Facie
On the other end of the spectrum, I was laser-focused on Cassandra Woodhouse’s portrayal of Tessa Ensler, a top criminal defence lawyer specializing in sexual assault and rape cases. I was enthralled by her performance—taken by her passionate and honest delivery. Whether dancing in a club or delivering a devastating monologue, she held the room in a grip of raw emotion.
She painted a picture of strength, vulnerability, and hope that deeply moved me and the audience. As one viewer put it during the intimate post-show Q&A, there was pin-drop silence – we were hanging on her every word.
Without giving too much away, the subject matter of this one-woman show is crucial in today’s world, where globally, one in three women and one in seven men experience physical and/or sexual violence. Woodhouse’s emotional vulnerability made that reality unignorable.
Prima facie means “at first sight,” and it’s a perfect title. This show leaves a lasting impression far beyond that first glance. I couldn’t recommend it more—please grab your tickets to both shows here.
