Before the show begins, Baylie Carson darts between candle-lit tables in the Space Theatre. Carson is carrying a container filled with pieces of paper, each with writing on them. They ask every audience member to take one, but we are given clear instructions not to read them until we are told. Already, the room is charmed by Carson.

This world-premiere of Baylie Carson is Handsome(ish) is a reflection on everything that makes up an identity: queerness, neurodivergence, diagnoses, family, and community, to name a few of the themes. Carson, a WAAPA graduate and West End star, is the show’s writer and sole performer, joined by a four-piece band on stage.

Language is a central motif throughout this hour-long production. It begins with an opening story about how Carson was called “handsome” as a 12-year-old. Carson uses the exploration of this word – its definition, historical references, evolution, and weaponisation – as the show’s northstar.

There is a large screen behind Carson, which is used to beautifully reiterate the complexity of language and communication, particularly in a world that demands that individuals fit their identities into labelled boxes.

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At times, the screen displays subtitles for voice recordings between Carson and their dad Steven, who has dyslexia and is neurodivergent. In these voice recordings, the pair discuss structures, systems and theories that are often used to explain and justify society’s status quo.

At other times, this screen displays photos of loved ones, or the artwork of Carson’s sister Grace, who is non-verbal and in a wheelchair. The inclusion of Carson’s personal artefacts doesn’t alienate the audience, but instead draws them in, offering an added layer of humanity, vulnerability and connection.

Carson also uses Handsome(ish) to platform conversations about the non-binary, ‘the third space’, the in between. This is done in the writing – when Carson introduces themselves, saying they were given the name ‘Baylie’ as it existed in both the masculine and feminine – and in the music – with a childlike, sing-along that questions ‘what’s in a name?’, showing what might be possible if we taught children that they could exist outside the binary.

The most tender point of the production is when Carson, for the first time publicly, talks about their experience with bulimia. Here, they are their most stripped back, and their willingness to share the darkest points of their story creates a moment of powerful connection between performer and audience.

Handsome(ish) is pulsing with life and authenticity, not just in its subject matter, but in its execution. Carson isn’t performative, but rather appears completely as themselves, in baggy jeans and a tank top. Carson’s undeniable vocal talents, paired with live music, fill every corner of the room, and the original songs, where Carson sings about being a “12-year-old schoolboy in a dress” – composed by musical director Shanon D. Whitelock – are as impactful as classics such as Whitney Houston’s, ‘How Will I Know?’.

Handsome(ish) isn’t just an ode to self-discovery, but a tribute to Carson’s family and community, those in the room and beyond. We are reminded of this at the end, as we are asked to finally read our pieces of paper and participate in this celebration of identity, survival and connection.

Baylie Carson is Handsome(ish) was performed at Space Theatre from June 11 – 12 as part of Adelaide Cabaret Festival