Asexuality!

Rebecca McGlynn is a one-woman tour-de-force in her autobiographical musical. It is rare enough for asexuality to be featured in any kind of media, so it was a privilege to see the topic tackled with such precision and boldness in live theatre. Rebecca's acting chops never falter throughout this highly strenuous show, where she has to play and interplay with at least a dozen characters (including pre-recorded ones), all of which are differentiated clearly and convincingly, and each scene of the musical is delivered with a conviction to communicate her truth. I was still more impressed with her rich, well-trained voice (a baritone for all transmascs to envy), which harmonised to great effect with pre-recorded versions of herself.

While the narrative of the musical remains unfinished (as Rebecca's life is in progress), this is no detriment to the structure of the performance, which has all the hallmarks of a musical. We start in medias res from a chorus introduction number, get immersed in character songs that bolster the power of the text, and are rewarded with meaningful reprises (!!!). Each number was crafted with care and delivered in buckets of pathos, even with the sensitive and uncomfortable nature of some material. Rebecca's portrayal of "Robert" from his occasional bigotry to self-acceptance is a grim reflection of an ignorant society, and the emotional eleventh-hour number had me choking up because of how painfully relatable it was.

Rebecca talks about the importance of finding an accurate parallel to represent ace people in media, and I think she has to succeeded in creating one powerful representation. I had never related so viscerally to a performance. What are the odds of also having met a loved one who does G&S and doing British comic opera together (at the Fringe, even)? Swap our genders and swap vocalists for instrumentalists, add a different ending, and you get some of my story. That was how close it cut to the bone. Perhaps not all trans aspec folk relate to this intersection, but Rebecca McGlynn's "Asexuality!" is a much-needed voice in LGBTQ+ theatre and media, and a must-see when anyone, straight or queer, gets the chance to.

Loved it at Fringe. Will love it even more on Broadway. Excellent show. Highly recommend.

A marvellous autobio journey through a life that was spent going through working out the idea of sexuality and feeling that there are many things better than sex, and asexuality just didn't exist in the media spotlight, then realising that her trans identity was also there in the background and that she wasn't sure of it, or if she could be attracted to lesbian women. All of these messages to watch at Patter House seems so magical and unique, and I definitely found the story worthwhile to watch. It was perfect timing of mine to watch both this and 'A Shark Boy...' on the same day. They work very well together as part of a queer day at Fringe.

It was a wonderful, relatable show that represented both the trans and asexual experience in an honest, hilarious way. I couldn’t recommend it enough

This show rises far above any preconceived notions that it is 'merely' about sexuality. Through its deft multi-disciplinary blend of original music, video art, and a captivating live performance, it kept me gripped for the full running time, constantly wondering what imaginative twist would come next. It is smart, well-written and performed from the heart. I absolutely loved it and would dare anyone of any gender or sexual orientation not to do the same. Inspiring, must-see solo work.

I stayed up late to satisfy my curiousity about this underaired topic and I wasn't disappointed. I was BLOWN AWAY! This show is a magnificent Tour de Force by a stunningly talented actor and writer. Don't be fooled by the simple set and small venue, this show is deep, incisive, funny, hearbreaking, and devastatingly, authentically honest. Come with your mind, heart, ears and eyes open, you won't be disappointed.

This show is devastating and hilarious. It’s a new perspective on the world with valuable messages, while also being personal and cathartic.

Becca is a multi-talented genius and this show is an absolute revelation. From tackling the over-sexualization in toxic masculinity to her trans coming out journey, Becca crafts a beautiful, hilarious story that is enthralling from beginning to end.

This was a brilliant show on many levels: the energy and talent of Rebecca; the messages presented in (very slick) dialogue with pre-recorded videos of different parts of 'robert'; the perfect mixture of comedy and deep emotion, the overall journey/story and the often moving or comedic life incidents; the songs, everything!

It was, i believe, also incredibly informative and in many ways paralleled my own personal journey of exploration so far around my sexuality and gender identity and in this I found it most affirming (thankyou)

I thoroughly enjoyed it!

Asexuality! (****)
Robert’s tale of his life as an asexual man who must endure a society obsessed with sex caught my heart. His use of a pre-recorded video of three versions of himself as advisors seemed trite at first, but was used to great effect. I was impressed how he was careful to ensure that his recent revelation did not diminish the message of acceptance of his piece.

This is the 10th most enjoyable of the 53 shows I have seen so far at the Fringe this year. I hope to see almost 200. You may see my other three-sentence reviews, in order from most enjoyable to worst, at my non-commercial website: https://fringefan.com/

As a friend of many asexual and trans people, I felt this musical was incredibly emotionally honest and echoed sentiments I'd heard before from a dozen mouths. The music and singing was excellent and achieved brilliant harmony within a one person show. The late night slot might make it difficult for some to see but I promise its worth the trip.