Big Naturals refers to big natural bouncing breasts – which little Chloe Petts first glimpsed between the pages of the Mirror and the Sun.

 

Aged eight, the sight of the naturally buoyant Page Three girls first gave Chloe a clue that she might be attracted to girls.

 

And she’s been pretty consistent about it ever since – so much so, that her coming out was a surprise to practically no one.

 

Chloe was always attracted to lad culture.  She liked pin up girls, she liked football, she liked Kasabian.  Her show takes as its starting point the way lad culture shaped her outlook on life.

 

Petts is an immensely likeable presence on stage.  She’s warm and welcoming to her audience and she makes her own life experience relatable to everyone.

 

She has a wonderful perfectly paced delivery and a winning turn of phrase that conjures great big laughs out of the air.

 

Chloe still loves lad culture – but she’s realised that she has outgrown some of it.  She’s not quite the alpha lesbian – but she’s begun to relish her advantages.  And she’s also got some thoughts about men.

 

Chloe is growing into her swagger and she’s enjoying it – and she can’t help crowing about the power she now has to tempt the bi-curious over to the other side. She pities the meagre choices on offer to heterosexual women – and she’s hilariously scathing about the elfin Timothée Chalamet-like specimens so many women seem to favour.  Having said that she does have a penchant for tiny posh women – which has her own emotional life set in a holding pattern she can’t seem to escape.

It’s interesting that her audience has a very wide demographic  – and Chloe doesn’t leave anyone behind.   She’s totally loveable, cheeky and very funny and appears to be completely at ease and in command. Her confidence and intuition as a performer is outstanding – she reacts instantly and finds a way to play with whatever energy she finds in the room.

 

She describes herself as ‘between a lad and a lesbian’ – so in a way this show is about leaving the lad behind and finding the man.

 

An encounter with a far-right march reminds her that toxic masculinity is not something to be trifled with – and she finds an elegant and very funny way of bursting that particular bubble.

 

There’s a lovely soft landing at the end of the show – as Chloe realises the ideal masculine role model is not found in the lads’ mags, on the football pitch or in a rock and roll band but in something far closer to home.

 

 

 

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