That Get Her Outta Here isn’t overflowing with audience members is a shocking event in itself. 

Created and performed by Isabella Broccolini, the production is rooted in an exploration of female identity. As the Red Lady, Broccolini is clad head-to-toe in scarlet – a walking symbol of strength and passion. Like the colour, Get Her Outta Here is intense. Lying face-first inside the mouth of a suitcase – not quite coming, not quite going – she is totally comatose. That said, this show starts with a climax. Two, in fact. 

Broccolini is effortlessly chic. Her long, graceful fingers and expressive face allow her to morph into an impressive cast of characters – a gentleman in the biscuit isle of her local Sainsbury’s for example, or that stranger she had intercourse with in the park. Broccolini doesn’t shy away from erotic images either, particularly those concerning female pleasure. Masturbation and/ or enjoyment of penetrative sex features heavily, though Get Her Outta Here is not lewd. On the contrary, the action is intoxicating – magnetic, even. A championing of womanhood in a wonderfully absurd but clever manner. 

Get Her Outta Here also touches on other experiences particular to the female sex, such as the concepts of chronic people-pleasing and hysteria. This is powerful (especially when juxtaposed with spangled nipple tassels). Broccolini’s performance is reminiscent of Winona Ryder in Girl, Interrupted. So unique is her stagecraft, that it treads that same, vertiginous line linking time and space. This sense of vertigo remains strong throughout, due to Broccolini’s uncanny ability to turn motion into emotion at the drop of a hat.

Broccolini also takes ownership of historically derogatory terms – ‘The C Word’ being her favourite. “C**t, c**t, c**t.” she breathes, clad in an elegant gown and satin kimono. With final meditations on technology, climate change, and patriarchal control over the female body, Get Her Outta Here covers a substantial amount of ground in 40 minutes. Its conclusion does feel premature, though perhaps this is because Broccolini is a storytelling machine of the highest calibre. It would be insane for her audience not to want more.

Get Her Outta Here review by Josephine Balfour-Oatts for Miro Magazine

Freelance Writer, Editor & Arts Journalist