Brook Tate’s ‘Birthmarked’ arrives at Edinburgh Fringe 2023, as part of this year’s Horizon Showcase. Originally commissioned by the Bristol Old Vic, for Mayfest 2022, where it enjoyed a strong box office, and positive critical evaluation. The question is whether the show will survive relocation from its homeground, and still stand out amidst the ~3.5 thousand shows on offer at the world’s largest festival of the arts.
The answer is enthusiastic just about.
Described by Tate as a ‘semi-improvised-autobiographical-piece-of-musical-gig-theatre’, ‘Birthmarked’ plays like a live-enacted concept album. The show tells of Brook’s growing up as a Jehova’s Witness, until at age 23, he was disfellowshipped due to his queer sexuality. Immediately cut off from his parents, brothers, sisters, and all the friends he’d ever known, Brook would have to create a new life for himself armed only with a guitar, and a knack for songwriting.
‘Birthmarked’ is structured around songs Brook was inspired to write during the first few years after leaving the Witnesses, with a little additional aburdist theatre to avoid only ticking the ‘gig’ box. Said drama is contained in the fictional relationship between Brook and Gayle the Whale played by bandmate Eva Redman. Inspired by tales of Johah, the exiled Brook is all at sea, and though terrified of being swallowed by Gayle, the two become friends – (which is handy, as Eva is his drummer).
Whilst their back and forth is chilled out, and pretty cute, ‘Birthmarked’ thrives or dives based on the quality of its music. The band, comprising his real life friends Tom Bonson, Samuel Fox, Eddie Benfield, and Sam Fox (there are two, it’s not a typo), are strong, tight and deliver a big, glorious sound. Tate is a more than competent singer, easily strong enough to make the cast of your typical touring musical.
However the songs themselves whilst they have moments are ultimately not memorable. There’s no stand-out earworm you’ll be humming for the days after, and wondering why. Narratively they fit well, inspired as they were by the extremely personal story Brook is telling in retrospect. There’s more than enough to suggest Brook can become a very good song-writer, plus he has a front man’s charisma.
Further, Director Sally Cookson has done well to sculpt the show, the songs, and its surreality into a pacey, vibrant experience. Full advantage is taken of Tate’s innate charm, and the ever escalating glitz, glamour and costuming are never allowed to overwhelm his story. The dramatized elements detailing Brook and the Whale’s growing friendship are kept consistent, simple, and cookily entertaining. The metaphors of ‘diving into deep waters’/’swimming upwards towards the light’ aren’t exactly subtle, but it works.
‘Birthmarked’ also benefits from a stellar finale, as Brook Tate achieves his final, stripey form. Where the soundtrack may lack in memorability, the emergence of Debra the Zebra will stay with all who see it, and for all the right reasons.
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