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Venue:The Counting House, 38 West Nicolson Street Edinburgh EH8 9DD
Phone: 0131 667 7533
Links: Click Here for venue details, Click here for map
Ticket Prices: Free  
Room: The Loft
AUG 3-14, 16-26 at 19:45 (60 min)
Show Image

Stand Up, Weather Girl! charts Sam's experience of weather presenting for BBC regional TV. A committed feminist, she has been flattered and appalled in equal measure at the reception her bottom has received from the viewing public. Her job has thrown up questions about women and science, women in the media and Carol Kirkwood's appearance on 'Strictly Come Dancing.' In a show where Feminism meets the Weather Girl, Sam aims to answer them.

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News and Reviews for this Show

August 14, 2018  One4Review
This show is warm and enthusiastic, and not the worst way to spend an hour. Ms Fraser was an English teacher, is now a supply weather presenter, and feminist. She’s struggled to reconcile these last two (presenting and feminism), mostly because some people on the internet have proffered their irrelevant opinions on her appearance.

The show draws out two strands in parallel – how Sam came to be a weather presenter (and how she feels about it now), and how it became possible for a non-meteorologist to present the weather. This, and Ms Fraser’s engaging sparkle (there’s just something nice about her), is an interesting enough story to keep people to the end.

Ms Fraser’s comedy relies on smut and easy one-liners, though there is one lovely one about thongs. Her presenting style retains something of the weather, and hasn’t quite fully migrated into live-on-stage-in-front-of-an-audience mode. Apart from this, she came across as friendly, and committed to doing the absolute best show she could. Click Here

June 3, 2018  Voice Magazine
Sam Fraser Stands Up and Causes a Storm in Gender Politics!
If you were to question the relevance of feminist sexual expression in 21st century, then ‘Stand Up, Weather Girl’ by the multifaceted BBC weather reporter and comic Sam Fraser can provide you with an answer; it’s as controversial and as important a requisition now as it was in the past.

Before Fraser entered her spotlight in the dimly lit, compact theatre above The Temple bar, there was an almost instantaneous sense of intimacy established by the secured environment alone; the accompanied blaring sounds of Blondie and the Pet Shop Boys arousing anticipation and the audiences optimistic murmurs coating the small room. And when our host did arrive, an electric conjunction of alliance and charisma engulfed the entirety of her small audience: having enough glistening charm within the first five minutes of her introduction to evoke feelings of familiarity with even the most foreign of strangers.

She begins by humorously interrogating ethics of somatic conventionality, professing to her onlookers that her promotional image for the public event is unaltered. This would be the first of various courageous, yet casually articulated revelations during the one hour set with immense self-awareness on both her individually, and the institutions around her. With authentic agency, Fraser directs between working class adolescence and contemporary womanhood, personal and professional, successfully accentuating how they motion between one another as animated concepts. She opens discussions on the historical fetishisation of the weather girl, the voyeuristic nature of the media, the male gaze, coming of age enlightenment and pornography amongst other topics.

Her delightfully crude character full of obscene references to sex and female physicality is somewhat signature of her act in total honest exhibition; she possesses a dejection to the prohibitions primarily initiated by the taboos of misogynistic etiquette, emphasising dialogue on how comprehension and raw expression can work in tandem, rather than as separate or faulty traits. Fraser notes how femininity is expected to fit the patriarchal aesthetics of the past and the reigning digital age; through such, she triggers a tangent of socially conscious comedy intersecting women and sexuality, highly relatable to her receptive mixed gendered, mixed generation audience, to whom she rarely breaks contact; proving the more how substantial the atmospheric connection between performer and spectator is.

If her unfiltered, thought provoking satirical appeal were to teach chauvinists anything, it’s that weather women aren’t pseudo intelligent ‘bimbos’ whose currency is determined by the length of a skirt; rather, with profound inspiration, Sam Fraser broadcasts how she can be complex, funny, absurd and triumphant through her permission alone.

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