Natalie Palamides: WEER

In WEER,, Natalie takes audiences on a chaotic, hilarious, and unexpectedly tender journey through the world of ’90s rom-coms. Playing both halves of a relationship in turmoil, she deconstructs the grand romantic gestures, sweeping monologues, and emotional manipulation that define the genre - all while delivering her signature mix of absurdist humour, physical comedy, and immersive audience interaction. Inspired by classic romantic dramas, personal experiences, and even vaudeville’s lost "half-and-half" acts, WEER is a genre-bending exploration of love, identity, and the stories we tell about romance.

The direction here was bold, confident, and full of creative flair, aiming to push boundaries and keep the audience on their toes. Some genuinely brilliant moments of organised chaos felt fresh and exciting—like watching controlled mayhem unfold with purpose. However, that energy wasn’t always evenly balanced. At times, the production slipped from thrillingly unpredictable into just plain messy, with a few moments that felt contradictory or unclear in their intent. That said, the ambition behind it all is undeniable, and the risks taken are admirable, even if not all landed cleanly. This show wasn’t afraid to go big and weird, which is part of its charm—even if that sometimes meant sacrificing a little polish.

The set design was minimalist at first glance, but full of hidden surprises that emerged cleverly throughout the performance. It constantly kept the audience guessing—what seemed plain one minute transformed the next. It was a nice touch that added to the show’s playful unpredictability. The only real misstep was the use of balloons, which didn’t add much in terms of atmosphere or impact. Instead, they cluttered the stage and felt more like a distraction than a deliberate design choice. Whimsical in theory, but in practice, they just got in the way.

Costume-wise, the design was sharp, characterful, and visually fun, balancing bold and functional. It enhanced the different personas and added to the visual comedy while staying true to the show’s eccentric vibe. That said, there were moments when the costume didn’t reasonably cooperate with the action onstage—slightly awkward hiccups that briefly pulled focus from the performance. But overall, the design choices were clever and well-suited to the piece's tone.

The lighting design was another example of simplicity that was used well. It mainly relied on general washes to create mood and define space, which gave the show a cohesive visual tone without overpowering the action. While not overly flashy or dynamic, it supported the piece effectively. A few transitions between lighting states could have been smoother, though—they occasionally felt a little abrupt, breaking the otherwise steady rhythm of the show. Still, it did the job with quiet confidence.

Sound design was similarly strong, with clear audio and a well-balanced mix that supported the show without ever feeling intrusive. The only issue was the pre-show music, which was dialled up a bit too loud for comfort, especially when you’re trying to chat or settle in. That said, the playlist itself was a great choice: a fun, nostalgic collection of pre-2000s tracks that set an irreverent, cheeky tone right from the get-go and perfectly matched the show's personality.

Natalie Palamides’ script is a high-energy, laugh-a-minute explosion of wit, absurdity, and meta-theatrical playfulness. It has fourth-wall-breaking moments, clever language, and physical comedy that genuinely lands. The best bits are hilarious—some jokes are so sharply written and precisely delivered that they provoke real belly laughs. Audience participation is used sparingly but effectively, adding to the sense of unpredictability without feeling forced. That said, a few of the long-running gags began to lose momentum as the show progressed, stretching the joke too far and causing some dips in engagement. Additionally, the more crude humour and partial nudity felt a bit cheap compared to the show’s otherwise brilliant writing. These moments didn’t particularly enhance the narrative or the comedy, and their inclusion felt more like an attempt to shock than to serve the story.

What elevates the entire production, though, is Natalie Palamides herself. Her performance is nothing short of extraordinary—a true masterclass in character work. She morphs effortlessly between personas, each one distinct, hilarious, and fully committed. The energy she brings to the stage is relentless, and her ability to keep the audience engaged, whether they’re laughing, wincing, or both, is a real testament to her skill. It's a fearless, tour-de-force performance that carries the entire show on its back, and she does it with complete command.

Overall, this is a wild, chaotic, and incredibly entertaining piece of theatre that’s not afraid to take risks, get weird, and push boundaries. While not every joke lands, and some choices feel unnecessary, the combination of inventive writing, surprising design, and a powerhouse performance makes it a highlight. Just be warned: this is suited for over-18s only, with crude jokes and partial nudity that won’t be everyone’s cup of tea. If you're up for a brash, clever, unpredictable ride, this one’s for you.

WEER plays at Soho Theatre Walthamstow from Friday 2nd - Saturday 10th May. You can book your tickets here: https://sohotheatre.com/events/natalie-palamides-weer-3/