Fringe review: Medicine Woman
Self-professed ‘shamanic healer’ Veronica Osorio has graciously travelled across oceans to heal our deepest wounds, both inside and out. ★★★★
Medicine Woman changes every night. Naturally, people that visit healers have many different ailments, and it would be foolish for Venezuelan comedian, clown, and Hail, Caesar! star Veronica Osorio to administer the same shamanic treatment to every audience that attends the Yurt, the thematically appropriate tent venue at the Courtyard of Curiosities. Donning the aesthetic of a 19th century charlatan healer, Osorio wants to exorcise our insecurities, self-criticism, traumas, and ‘negative crotch energy’ through treatment methods such as mystical bells, partner dance, musical instruments, role play, and chanting.
It’s rather awesome to witness the way the charismatic Osorio can get audience members to do things. The performer opens with a blanket consent statement that she might touch you and speak to you — and ‘not in the English way’. Whilst this does cause an uncomfortable ripple across the audience, Osorio has an openness and vulnerability throughout Medicine Woman that by and large creates an encouraging environment to express yourself. The evening I attended did feature two cinematographers recording for archival purposes, which may have hindered some participation.
However, as Osorio retells a deeply personal story, we witness an engaging performer who relentlessly finds playfulness in the tragic and horrific. Ranging from her early life facing violence in Venezuela, to the present day living in Los Angeles and unable to return home, Osorio finds a magnetic joy in storytelling, whether playing out a parody of a Latin American father-of-the-bride speech, leading a recitation of a quintessential millennial ballad, or encouraging audience members at various points to be part of the show. An evocative soundtrack and imaginative costumes help punctuate the more planned sequences, whilst various props – such as individually issued ‘shamanic instruments’ to be played at will – help to fuel the show’s gleeful abandon.
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Whilst freeform audience participation rather dominates the show, this is by design, as Osorio is clearly intending Medicine Woman to be a cathartic, shared experience. Perhaps this contrast between an earnest personal story and satirical crowd work might jar for some audiences, but the delightful vulnerability of the performer nonetheless makes this show highly watchable.
Medicine Woman is not for everyone; some might find the free-flowing audience engagement anxiety-inducing. However, it is well-worth the visit if you don’t mind getting your hands dirty with some mystical healing practice while witnessing a powerful story from the Venezuelan diaspora.
Medicine Woman concluded March 23 at the Courtyard of Curiosities at Migration Museum
Read more 2025 Adelaide Fringe coverage here on InReview