The house lights dim, and Lady Carol strides onto stage, ukulele in hand, and, taking her seat, bursts directly into song. It’s a frank, stark opening, not ineffective, but it did leave me wondering quite what to expect.

That sense of unease pervades the act as a whole, and though there is much to enjoy here, the consequence is that its considerable potential remains somewhat unfulfilled.

The show consists of a collection of songs, an even mix of covers and original pieces, interspersed with spoken musings, predominantly autobiographical in nature, gentle and gently comic recollections of earlier years, as well as some mildly offbeat anecdotes around her purported internet stalking habits.

When talking, Lady Carol is demure to the point of shyness; these sections are soothing and endearing, but only once does she raise much more than a smile.

By contrast, when she sings, Lady Carol launches into a dramatic alter-ego.

Her voice is a remarkable instrument: rich in resonance, piercing without being strident, full of woody colour and cello-like expression. This side of her is hypnotising, forceful and sexy, and we see more fully what a magnetic stage presence she has.

It’s not quite the case that her knockout rendition of Creep is alone worth the admission price, but if you do see this show, it’ll likely be what stays with you more than anything else.

The spoken and the sung sections really do not complement each other much. The latter have a kind of coldness and sharpness which I found dramatic and alluring, but which were undermined by the kooky warmth of the former.

Nor is there enough narrative coherence – there is a little – between the two to thread them together as one story.

So we are left with some words and some songs, the former sweet but probably otiose, the latter often excellent but a trifle marooned.

I yearned to see this dynamic, beguiling performer play more to her strengths, which are considerable, and, once she develops a clearer conception of what her act actually is, it seems likely she will blossom.

As it stands, this is a powerful and evocative Fringe debut which is full of promise.

Lady Carol: Tomorrow Is My Turn 8.15pm at the Pleasance Courtyard until August 31st Alex Brenner. Word count: 364

Alex Brenner

Lady Carol: Tomorrow Is My Turn 8.15pm at the Pleasance Courtyard until August 31st

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