The Other Palace (Studio), London – until 9th March 2025
Reviewed by Celia Armand Smith
3***
Mia, Sami, Ren, Prudence, and Veronica are all through to the final rounds of Miss I-Doll, an all rounder televised talent contest. At the centre of the story is Mia, a sweet girl who is just there to have a good time, however her true nature is revealed when a bump to the head in a backstage accident leads to an on air rant about the reality of talent shows, and all is not as it seems. Miss I-Doll is a new satirical musical from writers Tobia Rossi and Oliver Lidert, with music by Simone Manfredini. Taking aim at the ethics, green-washing, image, identity, fame, and the soulless commodification of people and talent at whatever cost, Ruthie Stephens’ production is an interesting take.
The action alternates between on air scenes and backstage drama. Daisy Steere is an undeniably excellent performer who makes light work of playing every character, giving each a distinctly different accent whether it’s Geordie, Scouse, Irish, or Italian with very different characteristics. She powers through the songs and there is never any confusion as to which character is present. There is a producer called Maria who is juggling contestants, sponsors, and ratings, and ultimately her own place within the talent machine, and a villainous CEO of a conglomerate who own every aspect of the show including every sponsor – Fanny-Fresh Spoon Cup, Commune Kombucha, and LoCal Fem Water. One of my favourite of the characters is Anita Johnson, the ever smiling presenter of Miss I-Doll who has to balance the on stage tension, being upbeat, and advertising the insane products that sponsor the show. Steere also plays various characters in pre-recorded Gogglebox style videos of viewers commentating on the show as it goes out “live”. Although Steere is fantastic playing every role, Natalie Casey is a great addition in the role of the ‘Big Sis’, a mix of booming X Factor announcements and the voice of the Big Brother diary room, adding another dynamic to the show.
In this feminist-ish slant on how women are perceived and how they navigate the world, the jokes come thick and fast, taking aim at common talent show tropes, people in the public eye, advertising, and other reality shows. There are a lot of swipes at low hanging fruit, and the humour and the jabs are at times obvious and a bit predictable. In trying to create a full picture of the talent show machine – multiple contestants, backstage/on stage, advertisers, audience, societal expectations etc – the story is unable to scratch the surface and go deeper. However, there is no denying that there are some excellent gags, and the songs are very catchy and the singing is impeccable in this fun new show.