By Will Eshelby, Second Year History
On Saturday 6th December, I had the privilege of watching Nutivity at the Lost Horizon Arts Centre and Bar. Billed as ‘a comedy for the whole family’ – a bold characterisation I’m not sure my mother would agree with – the show offered an evening of witty social commentary and a much-needed distraction from the mounting pressures of exam season. The novelty of the show’s conceit and its masterful execution left me in no doubt as to the originality of the show’s creator (Crystal Rattray Caló) and co-writer (Lily Phelps) and the comedic genius of its cast.
During Advent, scores of people up and down the country will have undoubtedly found themselves in some pebbledashed community centre, or woefully underfunded primary school, watching yet another poorly casted depiction of the Nativity. The greatest story ever told, as it has been dubbed, is quite rightly a festive staple. Yet, it is now so familiar to the average person on the street that, at the risk of sounding glib, it can be somewhat grating to rewatch. Countless iterations of the tale appear on both stage and screen every December, each supposedly offering a new and exciting perspective; although very few resemble quite as much of a departure from the established conventions of Nativity performance as this one.
‘[Nutivity] re-imagines the conception and birth of Jesus Christ in a way that is both side-splitting and totally sacrilegious’
This production of the Nativity, you see, is not like the others. For a start, It re-imagines the conception and birth of Jesus Christ in a way that is both side-splitting and totally sacrilegious. Staged at the popular music venue Lost Horizon, Nutivity successfully marries the story of the Gospel with Bristol student culture – engaging with areas such as the rave scene, drug consumption, sexual politics and male friendship. There is much to be said for the way the writers approach these rather discordant themes. The play’s approach to sexuality, while rambunctious and no doubt designed to shock, is refreshingly candid. Likewise, Nutivity’s evocation of modern slang, terminologies and crazes sets it apart as a truly inspired work of satire. It is a uniquely Bristolian play, frequently leaning into the city’s reputation for debauchery to great comedic effect.
The protagonist of Nutivity, Mary Blue (Lily Phelps), is a sort of fusion of the Virgin Mother and the adult film star known professionally as ‘Bonnie Blue’. Blue’s character, however, is markedly different to that of Mary, mother of God; she is likened at the start of the show to an ‘angel in the streets… but demon in the sheets’. This dichotomy forms the basis for the many of the play’s events. Throughout the course of the night, Mary is portrayed raving, vaping and Hinge-dating, amongst other vices. Within seconds of giving birth to the son of God, she actually kicks the infant into the audience; possibly the greatest denouement of any Nativity, ever. In sum, Phelps’ performance as Mary Blue is terrific, in no small part due to her on-stage chemistry with Joseph (Tom Bayman).
‘The atmosphere in the crowd was raucous, scintillating between mirth, disbelief and beguilement’
The show included more moments of total, unfettered hilarity than I have the column inches to list. That said, some personal highlights include Mary and Joseph’s initial hinge date, the ‘Wise Men’ podcast, and the totally unforeseeable aside into a Jeremy-Kyle style row over Jesus’ parentage. At various points, the audience was invited to join in with the festivities, accordingly booing and cheering in pantomime fashion. The atmosphere in the crowd was raucous, scintillating between mirth, disbelief and beguilement. I would argue that the interactivity of the show was a large part of its success, engaging the audience as though they were children at a school Nativity.
Millie Hicks
I thoroughly enjoyed this show from start to finish, and regard it a credit to both the writers and the wider cast. To me it fits within a grand tradition of independent student theatre, a genre almost as old as the Nativity itself. I sincerely hope that the cast reunite for an Easter special to commemorate the Resurrection in an equally outrageous manner.
Featured image: Crystal Rattray Caló
Have you been engaged with student theatre this year?
