The Scoop: Judith Lucy’s Ask No Questions Of The Moth

It’s been three years since Judith Lucy graced the stage with her formidable comedic presence. While the wait has been a long one, it has most definitely been worthwhile. Ask No Questions Of The Moth is a dedication to the absurdities in life and the unfortunate hilarity that accompanies the aftermath of tragedy. It truly is an emotional roller coaster where the – mostly compliant – audience participation segment reveals even the most nonchalant have a story that can be transformed into a saga.

Judith combines a cosmic balance of wit, charm and grandeur with a divine twist of morbid self-deprecation, making her simultaneously other-worldly and totally relatable. After asking a lady in the audience how her 2014 was to break the ice and be informed of a tragic death in the family, Judith handles the news like a pro by transforming it into part of the comedic act itself. “That’s the risk I run, asking questions like that,” she says after an awkward silence, causing the audience to release their collective breath in a burst of laughter. For most people, this foot-in-mouth situation would leave them reeling with rapid apologies and a series of cringe attacks to follow. But Judith Lucy isn’t most people. 

In her comedy routine, Judith makes reference to her TV series Judith Lucy Is All Woman where she is out to discover where women are in modern Australia and what it means to men – talking to people from all walks of life from all over the country. From Brazilian waxes to paediatric shoe choices, Judith has a story for everyone and guarantees a laugh. There aren’t many people in this world that can get away with reciting a monologue of menopausal symptoms to a backtrack of sexy saxophone music and vigorous hip gyrations, and still have a theatre full of laughing audience members. What makes her so likeable is the fact that she is real and honest, while refusing to take herself too seriously. 

Being able to embrace the things that “sucked” sets Judith apart from normal reality. This isn’t to say that she laughs at her grief; for Judith goes in depth, explaining her troubles in detail while allowing us to comfortably laugh with her rather than shy away from the topics of death and change. She certainly lives up to her reputation of “hilarious, honest, and occasionally shocking”. The most enjoyable aspect of the show is that you aren’t expected to laugh all the time – though you most certainly will.  

There is time for quiet, for reflection, for a moment of remembrance; for all the things that “sucked” and the things we could have done differently. But, more importantly, there should be more time for laughter; for the admission of our faults and recognition of the beauty of an awkward situation – and the humour that comes with it. Judith is spectacular for the simple reason that she is able to give her audience an opportunity to feel good about feeling bad.

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