Homecumming’s protagonist cannot cum. At least, not like she used to. She used to have “Epic” orgasms and now she barely gets anything from clitoral stimulation. Magalie Roillard-Bazinet’s one-woman show takes us on a journey from puberty to the present, exploring sexual pleasure, self-acceptance and terrible decisions along the way.
Roillard-Bazinet is flawless as our hypersexual protagonist. Her performance carries the show. Whether backflipping across the stage, collapsing in despair or simply holding the silence, she effortlessly grasps the audience for the full 50 minutes. Props too must be given to director Marie Queenan. It’s clear that the two work well together and create some really inventive and memorable moments. A notable set piece is when Roillard-Bazinet explains a battle for her heart between two boyfriends in terms of British and French colonialism.
The choice of subject matter is bold and confronting. Female sexuality is famously overlooked and Homecumming explores this topic more deeply than most, particularly the grief and frustration of orgasms changing as we age. Roillard-Bazinet doesn’t hold back in confronting sexual experiences right from puberty, demonstrated with lively bombastic wailing.
However, around 30 minutes in, I did find myself wondering what the point was. Our protagonist describes how her hypersexual behaviour has ruined her relationships, and at the age of 27 after cheating on her boyfriend she is forced to move into a shared basement apartment, implied to be a great humiliation. She embarks on a series of empty sexual encounters. This is supposed to be her rock bottom. For most people, it’s just your twenties.
Eventually, the protagonist goes to therapy, which helps her recognise that she must view her self-worth independently of sexual validation. This is an important realisation, but if she has developed any understanding of the reasons for the disconnect, the audience doesn’t get to hear it.
Homecumming is descriptive of behaviour perceived as shameful, but it doesn’t give insight into the reasons for those feelings or behaviour. Without that insight, the talk of self-loathing and the abyss can feel histrionic. The aforementioned set pieces, whilst fun, seem added to fill time and stretch the story into something more. I’m sure there is more, but it’s not in the narrative.
Homecumming is recommended even for Roillard-Bazinet’s performance alone. A bit more reflection and insight in the script would add considerable meat and vulnerability to the production.
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