We sat down for an exclusive interview with writer, Sean Matthew Whiteford, whose show (Edinburgh Festival Fringe hit new musical I WAS A TEENAGE SHE-DEVIL) will make its off-West End debut.
This show runs from The Other Palace from 2 – 26 April 2026 – tickets here
You describe I Was a Teenage She-Devil as both an outrageous 80s horror rock musical and a story about authentic identity—how did you balance parody with emotional sincerity in the writing?
Although the premise is so heightened and ridiculous, there’s a lot of sensitivity woven into the fabric of the show. The heart of the show is sincere; the outrageousness is just the world it lives in!
Nancy’s transformation is sparked by bullying, revenge, and supernatural power. What were you most interested in exploring about teenage rage and desire in today’s cultural context, despite the retro setting?
Kids today are more hyper aware of identity, power and cruelty in a way my generation wasn’t encouraged to articulate or express. Although I’ve always celebrated 80s pop culture, I wanted to have a piece that would age well for decades to come. That means calling out gross behavior, and shifting the narrative away from characters we were once taught to admire. I grew up with “Grease” where the girl changes who she is to be liked by – well – jerks, and that’s framed as the happy ending. This generation deserves a better message than that. And we can still have loads of fun and leave the theatre humming all the songs!
The show wears its 80s influences proudly. Were there particular films, musical styles, or cultural references that shaped the tone and structure of the piece most strongly?
This show definitely has a little bit of everything! Every character and every song has its own list of influences that I’ll mold to make something unique – and even after 15 years of crafting the show, I still dive into my video closet or record collection for inspiration. Yet overall, I like to believe the show stands on its own, and although you can classify our characters as stereotypes, you are putting them in circumstances you’ve never seen before.
This London transfer follows a successful Edinburgh Fringe run. What did you learn from Fringe audiences that has influenced how the show will evolve for its Off-West End debut?
Part of what I’ve learned is that much like the lead character in the show, I don’t have to change who I am for acceptance. I believe the more I remain authentic and stick to my instincts, the better the show gets.
You’ve said the story is ‘meant for today.’ What conversations or anxieties in contemporary society do you hope audiences recognise beneath the camp and comedy?
All the kids at the end of the show are celebrating the two lesbian homecoming queens onstage, and it depicts (in classic teen movie fashion) “the perfect happy ending”. And it makes you wonder – “jeez, why are we all so mean to each other when the world could actually look like this?.” Or if *you* are the outcast, have it encourage you to stay true to yourself because there will always be someone who sees you, loves you, and is inspired by you.
As the sole writer of book, music, and lyrics, how do you know when a moment should be driven by narrative clarity versus pure musical or theatrical excess?
Those decisions always become clearer the more I see/hear it in front of me, for sure. I’ve been gifted an exceptional amount of time to sit with what works and what doesn’t – but at the end of the day, it’s art. This is my expression, and this show is not about following the rules!