To be effective, performers need sufficient self-confidence to enable them to make a connection with their audience. It seems inappropriate, therefore, that Ruth Berkoff’s The Beauty of Being Herd concerns a character so crippled by social anxiety as to regard withdrawing from society as preferable to taking part.
Ever since her childhood friend told her they were no longer friends, Hannah (author and sole performer Ruth Berkoff) has felt like an outsider, unable to form relationships with other people. She has learnt, but struggles to apply, the rules of social interaction, yet the only one with which she is comfortable is knowing when to leave a conversation. Hannah is delighted to find a party where the rules for taking part are spelt out on notices on the doors to various rooms. It turns out to be a sex party, but you can’t have everything.
Despairing of ever being able to blend in, Hannah decides to give up on the human race and become a sheep—a species whose behaviour is much less complex and where, she is confident, she will become one of the herd—despite having opposable thumbs instead of hooves. As she prepares to transform, Hannah sets out her plans and explains the benefits of her choice.
Director Georgia Murphy stages the play as a mixture of a leaving party and a therapy session. It is hugely entertaining, with Hannah applying the cut-price Primark clothing she hopes will disguise her as a sheep. Hannah’s tendency to break into enthusiastic song may be a hint events are taking place in her mind.
Hannah has a comedic habit of constantly putting her foot in her mouth—assuring workmates they don’t look that overweight—and overcompensating and making things worse when trying to correct her errors. Hannah’s behaviour, in explaining the attraction of a sheep’s lifestyle, is childlike (rushing around the stage in a giddy manner). It is also a bit desperate—decorations for her ‘leaving party’ comprise a single banner and balloon and she is unable to find matching socks. Despite her gauche innocence, Hannah’s emotionally needy nature helps explain why she struggles to make friends.
There is a high level of audience interaction in the play. A very enthusiastic audience at the Kings Arms responds to Hannah’s questions on things they would willing give up by becoming a sheep, helps apply her make-up and learns how to frolic (not as much fun as it sounds). Yet there is no doubt we are dancing to Hannah’s tune rather than questioning her logic, as it seems the easier option.
Although the character might be insecure, Ruth Berkoff has a stand-up comedian’s confidence and style of delivery. With a straight face, she delivers punchlines perfectly timed after the main statement. Hannah has a loose schedule for her farewell party—to which she will rigidly adhere. Concealing her hair under a pair of knickers, she explains she is a size 8—around the head. More importantly, Berkoff’s warm-hearted and empathic performance draws out Hannah’s vulnerability and helps the audience see past her needy nature, so we relate to, rather than laugh at, Hannah.
While highly entertaining, The Beauty of Being Herd tackles a sensitive subject and helps the audience better understand a character whose behaviour is far from conventional.
The Beauty of Being Herd is next at The Snug, Hyde Park Book Club, Leeds, on 27 January 2024.