Last year I got to savour 600 seconds of Benjamin Quirk’s Twink Death, a witty solo piece exploring the concept of twinkness and one’s identity post-twinkhood. I jumped at the chance to see how this now-extended version would present, and how the show has evolved six months on from its 10-minute debut.
For Fringe, Twink Death is aptly hosted in the Court Hotel’s “chambers”, a setting synonymous with many nights of debauchery. The space truly adds to the experience and is rightfully referenced within the script, as being a twink in Boorloo is arguably impossible without having set foot in this venue and listened to a Samantha Jade megamix, as Benjamin points out.
The strength of this show lies in its script, written and performed by Quirk. It’s referential, laugh-out-loud funny and full of imaginative metaphors, while on a deeper level exploring concepts of identity loss and societal norms. Thematic monologues are broken up by Benjamin appealing to God (a.k.a. Carrie Bradshaw) for help and direction, an element that provides structure to an otherwise narrative-light script. Despite the many contemporary references (including a Charli XCX remix), there is clear potential for the script to be updated as time progresses while its core concepts remain intact.
The show’s direction and performance are strongest in the sections retained from the original version, where more time and development are evident. With further refinement, the newer material could be lifted to the same level.
Benjamin Quirk’s talent for writing is undeniable, and his endearing performance qualities quickly warm the audience to him. He’s certainly one to watch.