Five women named Cecily find out what it means to be a Cecily.
What is the “right way” to be a woman?
Five women, who all happen to be called Cecily, battle with what it means to be a woman in A. A. Brenner’s new work-in-progress production of “Good Girls Don’t Go To Hell” at the Divine in Dalston. Directed by Emma Denson, this new play’s attitude to form, it’s zany but real characters and its unique voice all show huge promise for a fully fledged production.
After an introduction from God herself, we meet Good Girl Cecily, played by Beth Graham, and Boss-Bitch Cecily, played by Kemah Bob, in a cafe. Realising that they share the same unique name, as does Good Girl Cecily’s best friend Save-Me Cecily, played by Eliza Martin, they form a council of Cecily’s to form friendships and discuss issues of relationships and the patriarchy. Tiggy Bayley rounds out the cast as the awkward Shut-In Cecily, with Tahiris Adames introduced in the second act as the wily Sexpot Cecily.
Each actor shines in their roles and makes you forget that this is a work-in-progress performance. Everyone is perfectly cast, in particular Martin as the bubbly, anxiety-ridden Save-Me Cecily. From queer awakenings to inevitable break ups to existential questionings of life, this cast of characters covers it, but they bring a real heart and pathos to these themes.
In terms of form, we are led through this world as a standard play, but this structure is broken when the show concludes with a lip-sync cabaret hosted by Femmi as the Burning Bush. This was a fiery way to end the piece, but it left me wanting to see this cabaret motif as more of framing device linking the play together.
The script is jam-packed with fantastic ideas, but few are given the full exploration that they deserve. Adames’ character of Sexpot Cecily is set up as a sassy new love interest for Good Girl Cecily, but this idea is only lightly touched upon, giving Adames very little to do in their role. Wacky concepts, like how two of our Cecily’s run a greeting card writing business, are set up and then forgotten. There are so many great ideas, they just need the time to grow.
“Good Girls Don’t Go To Hell” may be in the embryonic stages, but it is already a great night out. The potential for a great play is here and I cannot wait to see its best elements brought to their zenith for a future production.