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A refreshingly modern musical that finds beauty in the purgatory

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Have you ever wondered what a feminist musical set in a fancy public bathroom would be like?

Director Vikki Stone brings together a diverse set of modern female topics in this new production so hot off the press the programmes aren’t even available yet. Led by Lauren Ward’s character Maggie, we follow the emotional roller coasters of several women and girls whose lives all appear to be going through apprehensive transitions.

The aforementioned ladies room is especially sleek and contemporary, with finishing touches of neon backlighting, chrome hardware and tiled flooring. It appears to be part of an office building in which the characters collide and collude as they navigate their own circumstances. Maggie is trying to confront her grief after losing her daughter Robin (Rebecca-Jo Roberts). She meets the stressed Cynthia (Josie Benson) whose neuro-divergent daughter Emma (Grace Venus) is a source of anxiety; Krystal (Regina Co) desperately tries to be true to herself, her sexuality and her mother Angela (Cezarah Bonner); and Serena (Evita Khrime) plays a teenage poet unsure of her place in the world.

The songs are both relatable and somewhat catchy- the guy next to me was shimmying in his seat the whole time. There was soulful yet upbeat folk-pop atmosphere to composer Andy Marsh’s score that made you feel like you were in a 00s chick flick and that is absolutely a compliment. Whilst the diverse all-female cast were strong throughout, for me the stand out is Grace Venus. Her vocal intonation was gorgeous and interesting, almost jazzlike.

This musical is fresh and feelgood, despite the serious subject matter and turmoil the characters are facing. Maggie forms bonds with the women she meets and the relationships feel genuine. Whether she is encouraging Emma to paint her nails blue, or consoling confused and distraught Serena, we believe Maggie is a good person. We are rooting for her the whole way.

I appreciated the inclusion of current topics affecting modern society including LGBT issues and drug misuse, however some of the characterisations were unnecessarily stereotypical. Emma’s mother Cynthia for example is portrayed as an overbearing and exaggerated trope of an Asian mother. This is probably an attempt to raise some laughs in an otherwise tonally sober show, but it just feels a bit tired and lazy. I also felt that although the songs were sung wonderfully and earnestly, they started to blend into one long woe-is-me attitude: I think it could benefit from some more uplifting, joyful ensemble numbers to balance it out.

Ultimately, this show tells us we just need to give ourselves a break. If we could only take time to feel our feelings fully, process the moment and listen to new perspectives then everything will work out fine. Whilst this production is still brand new to audiences and is still finding its voice, I genuinely thought to myself I would totally be friends with these women. Maggie’s soaring, beautiful vocals wrap around the audience like a reassuring hug from your mother, whilst the youthful, trendy costumes of Serena and Robin made me want to go on a shopping trip with them. This is a perfect show to take your girlfriends or your mum for a sincere but ultimately life-affirming time about how we navigate emotional stalling.