★★★★★
They “are extraordinary, fearless little girls”, with a show-stopping script, toe-tapping score & the spirits of women everywhere right behind them.
Being a girl is no easy feat. With a litany of challenges, expectations & social norms that simply don’t exist for men, the demands of the world are universal & everchanging. But not in the bathroom; a sanctuary for women to breathe, uplift & support one another, & it is in this spirit that Girlhood in the Bathroom rings true for audiences at the Edinburgh Fringe, finishing their incredible run in style, & turning the atmosphere at Gilded Balloon Teviot electric.
With the weathered & well-used stage bathroom offering a sharp comparison to the grandness of the space within which the musical takes place, the five-person cast manage to transport hundreds into this private world, yet making it an open & accessible place for all to observe. Combining a strong script with a truly brilliant soundtrack, the show moves promptly through a New Year’s evening epitomising the nightclub experiences that we all have with class, style & a deep respect for the sanctity of this unlikely location. With a blend of empowering & heartfelt songs that I’m desperate to add to my playlists, the impact of this short yet sweet show cannot be overstated.
Each of the cast members play a crucial thematic & representational role, giving every girl a chance to see themselves portrayed on stage in some form or another. Their interactions are heartfelt, authentic & speak to the underlying unspoken bond that binds them not only as friends but as young women. Each adorning a slightly different yet still somewhat coordinated costume, I enjoyed seeing their personalities play out & interact with each other & the environment, drawing on witty writing to accentuate their own personal styles.
This was epitomised most clearly by Amaya Pardillo’s Kiya, a complex character whose dynamism within the group shines most clearly. Beginning as an unlikeable, bully-like character to other girls, watching her true feelings come to the fore & the way in which this manifests itself is one of the strongest character arcs I’ve seen at a Fringe show. Whilst feeling a little rushed at points, they make incredible use of their limited stage time to craft this impactful narrative.
A special mention must also go to Alice Quick’s Baylee, the character whom I saw myself most represented in, whose tender performance struck a chord with many in the audience, & whose warmth & relative quietness in the group was a brilliant contrast to some of the larger, more outgoing personalities portrayed.
Put simply, Girlhood in the Bathroom epitomises & emphasises a universal safe space that so many of us have found care, support, assistance, love & so much more within. Creating a truly exceptional, stand-out original musical at the Edinburgh Fringe Festival is a challenging feat, especially for a group based over 9000 miles away, but this show is truly one of those incredible pieces that deserves to transcend the Fringe. They may have had their final bows, but I look forward to seeing this return one day, as a piece that simply cannot have had its final moments.