EdFringe Review: Mum and I Don’t Talk Anymore by Milanka Brooks

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‘Mum and I Don’t Talk Anymore’ by Milanka Brooks is a dramatic memoir created and performed by a skilled, comedic actress and not a comedian. That makes more of a difference that you might think at first.

For a start, Milanka is far more comfortable, and able, to slip into her mother’s character (as much of a mind f*ck as that has to be for her) than your typical comic. That’s not to denigrate the comedian’s toolkit, only to point to the differences that training and differing talents make. if you’re not convinced, I suggest you buy a ticket to Milanka’s show.

There’s also the possibility of a shot of Slivovitz (that’s Serbian Plum Brandy) for some earlycomers. Out of context, being greeted by Milanka in her mother’s character is cute, but a little awkward. Once the play has begun, it makes far more sense.

The show is powered by the close, but complicated relationship between Milanka and her flamboyant, attention-magnet mother, Lela. To say it has helped shape the younger woman’s life is an understatement. Has it always been shaped for the better…

I’m sure many children could do a solid impersonation of their parents, but Milanka essentially recreates her, accent, body language, mind and soul. Mother and daughter make quite the odd couple double act. Milanka has learned to be wary of men, her mother celebrates them. Milanka likes to stay hit, her mother has developed her own secret calesthenics routine she wants filmed, and expects to go viral. Lela loves saunas, Milanka is ambivalent on the subject.

These differences of opinion, plus immense love and affection mean there was never a dull moment between the two, whether Milanka was a child, teen, or grown woman.

This should go without saying, but just in case: this is not a gag fest. It is a piece of theatre based on true life. It has all the comedy of real life, and all the messy drama and tragedy too. Neither angels or devils, the two orbit each other, invested in one another, but with the advice pipeline firmly running from mother to daughter (whether she likes it or not.)

Milanka has created a very honest show. Whilst none of us have an objective picture of who we are, she lays out who she sees in the mirror as best she can. Director Ben Cavey keeps things ticking along however, averting the risks of excessive introspection. The narrative centre of the show keeps moving, peppered with memorable vignettes, but without lingering too long. If, occassionally we slip forwards in time and space a little too abruptly, I’d rather have pace than tidiness.

In the end Milanka is immensely likeable precisely because she isn’t trying to make anyone like her. She’s made choices, and she owns them. By the end of ‘Mum and I Don’t Talk Anymore’ you will also feel you know Lela, or at least a memorable shadow of her. Such is the quality of Milanka Brook’s performance that it is inevitable.

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