Jokes are on the woke for a performer with baggage

expressive performer, she takes the stage with a fully committed jerk and twerk to a rendition of the eponymous pop hit, albeit a disturbing cover version that presages the show’s intertwining themes of formative childhood influences, confused sexuality and strategically deployed assshaking.

The show also takes its title from Sara Baartman, a South African slave exhibited in freak shows throughout Europe in the 19th century as the “Hottentot Venus”, a life that, suffice to say, was not a terribly happy one. Yet it’s an experience Duker can relate to, as she finds her hair constantly being marvelled at and touched in a Berlin nightclub.

Oppressed by her desire to avoid black stereotypes, which has latterly even followed her into therapy, the young Duker cast around in vain for a better role model, There is no stopping, no breathing, just narrative shot through with random thoughts, pointed asides and, initially, quite a lot of information about the Silk Road. One of Revell’s most accomplished skills is his ability to blend reality and fantasy, so that as you hurtle through the verbal rapids you will suddenly ricochet off something and realise that a brilliant political point has just been made, or spin around only to find that you have just been hit with a smart sociopolitical insight. The hour is a real head rush (no drugs necessary). A master of his craft.

KATE COPSTICK

Until 25 August. Today 3:35pm.