Miss I-Doll, which is co-written by Oliver Lidert and Tobia Rossi, and directed by Ruthie Stephens, is a mind-blowing masterpiece of a one-person musical, wreaking havoc and endless joy throughout. The title is derived from a fictional, yet feels as though it were not, reality TV show of the same name, wherein young women compete in bizarre challenges to win the title and provide for a charity of their choice for a year. However, this competition is a mere ticking time bomb as contestant Mia sets out to sabotage and dismantle the harm reality TV shows cause, and expose the truth.
Based on an original idea by Ilaria Fioravanthi, the musical focuses on the series finale, with five remaining contestants, two live challenges and a reminder to abuse the unlimited audience voting lines. Mia, an ironically headstrong and genuine woman, must best her fellow competitors (the fierce and violent Ren, the naive and religious Prudence, the nepo baby Sammi Sire, and performative well being expert Veronica) AND win over the 3.5 million audience members at home. The competition forces the contestants to face their fears, yet it's the conflict that exists around the green screen that truly creates the drama that fuels this play.
Mia, who has blackouts of justified yet heightened rage rampages, finds herself at the centre of controversy after an angry rant on live TV. Mia's call for action with "F**K This Show" only brings in more attention to herself and the show, thus creating a new set of obstacles as she strives to turn the toxic TV series into a positive and empowering experience for young viewers.
Miss I-Doll is a constant source of entertainment, both in terms of the satirical nature of reality TV shows, with the larger than life competitors and obnoxiously named challenges and the flipside of how this triggers the very real human beings behind the cameras. The writing is exceptional, loading every line of dialogue with witty comebacks, pop culture references, or wonderfully controversial jokes, whilst never losing sight of the larger goal.
Rossi and Lidert have created a vivid world with very distinctive characters, ensuring that each individual character fits in the caricature-like mould, and yet also show tremendous character strength, development and an inability to be restricted to one defining quality, particularly Mia and Maria. Amongst this, are such witty remarks, that will no doubt be adopted into the vocabulary of audience members. Rossi and Lidert's references range from the late 90s and early 2000s to present day, even including a cheeky moment of "holding space". The writers have a keen sense of the pulse of the world at present, both online and offline, and this really helps audiences willingly engage with Miss I-Doll.
Director Ruthie Stephens has created a miraculous musical with the powerhouse performer that is Daisy Steere. Steere is perhaps the most formidable young actress in the London theatre scene at the moment. Steere effortlessly slips between the nine different characters including overly perky TV host Anita Johnson, the strict TV producer Maria, and five of the contestants, including Mia. Steere takes the fast paced, punchline a minute squabble and interrogation, turning it into her own dance as she sheds and adorns these characters as if they were nothing. Steere's irresistible stage presence and charm floods the room, and elevates an already incredible piece of theatre into an immediate favourite and unforgettable piece.
The musical is an hour and forty five minutes, with each act lasting 40-45 minutes, with Steere giving it more than her absolute all the entire time. Steere's infectious energy keeps the music feeling electric throughout, and gives a performance that is unmatched. The audiences are guaranteed to be laughing throughout, with moments of relatability and inspiration shining through the cracked mirrors of glamour. Stephens' direction keeps the play moving swiftly, even during its slower scenes. Rachel Coffey has worked tirelessly as the accent coach, helping Steere appear to be fluent in the chosen language.
The Other Palace Studio is a rather small and intimate space, yet set designer Ellie Wintour never allows it to inhibit the glory of the musical. With a wall of studio lighting reflectors, wires and large professional cameras and lens strewn about, a couple of chairs shoved together, multiple screens and endless stickers from marketing to label and promote items, designer Wintour creates the sense of being right in the Miss I-Doll studio along with Mia.
Alistair Lindsay's lighting design helps distinguish between simultaneous scenes and character interactions, along with the white flashes during filming. Lucia Caceres Alves' work as video designer and VFX helps stimulate a clearly understanding of how the show invites audiences into the TV series. Steere plays further characters, three pre-recorded "viewers from home" with the right touch of catty judgement, which is projected onto the screens.
The songs by Simone Manfredini aren't particularly memorable upon leaving the theatre, yet they neatly tie the musical together during the show. With only five main songs, although many are reprised, each comes at a pivotal point in the show, altering the course in a rather refreshingly proactive manner. Steere, unsurprisingly, is not only a fantastic singer but is able to carry the same depth and power to her various characters and their accents. Characters Lady Carnaby and Maria are each given their on songs, testing and showcasing Steere's vast skills. Fletcher Dobson's choreography as assistant movement director is done well, as Steere dances her way through the musical.
Miss I-Doll truly does break glass ceilings with this impeccable one person musical. A crowning glory of a show, with Steere as its brightest jewel!
Miss I-Doll is currently playing at The Other Palace Studio until 9th March.
★★★★★ (5*)
Gifted tickets in return for an honest review | Photography by Mariano Gobbi
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