Miss I-Doll
Miss I-Doll
Written by Tobia Rossi and Oliver Lidert, “Miss I-Doll” zooms in on the final contestants of a reality TV show, highlighting all the things we know and love, or love to hate, about reality television. The narrative brilliantly uncovers how manufactured moments are spliced together with lies to create a different reality for the audience.
The show is peppered with pop culture references that had the audience in stitches. It plays up feminism and capitalism so effectively that it really makes you question the authenticity of what you see on TV. The brand of feminism portrayed here is engaging and thought-provoking. We get to hear how contestants describe themselves as ‘one big family,’ while simultaneously engaging in cutthroat competitions. There are hilarious nods to previous competitions such as the ‘Grass on Your Girls Lie Detector Test’ and ‘Break the Glass Ceiling Booty Camp,’ not to mention ‘Defeat the Patriarchy with Table Tennis.’
For the musical theatre fans out there, the show cleverly incorporates allusions to other show tunes to subtly evoke emotions or spark recognition of familiar character types.
Musically, the show is on point, with songs that perfectly complement the high-stakes drama of the stage. Yet, at its heart, “Miss I-Doll” is essentially a one-woman show, with the invaluable addition of a voiceover provided by Natalie Casey. The real star of the production is Daisy Steere in the role of Mia, and everyone else. She might not be a reality star, but in reality, she’s a star. Steere effortlessly juggles a handful of characters, transitioning seamlessly between them using only her physicality and voice. With the expert guidance of Dialect Coach Rachel Coffey, we see Steere master a range of accents, from an overbearing Italian to a devout Irish, each portrayed in the ultimate stereotypical fashion. Within the context of the play, these characterisations work wonderfully and provide non-stop entertainment throughout.
The production also cleverly includes ‘at home’ reactions of viewers, which are pre-recorded and shown on screens. This not only adds a layer of depth to the narrative but also gives Steere a moment to catch her breath in what is an intensely demanding show.
While at its core it is a feminist piece, the reality is that it’s more a critique of society and consumerism than of any specific gender issue. Following the interval, there’s the introduction of a real message, which for me felt a bit superfluous. The message seemed apparent throughout the show, but this ‘rise up’ moment did hit for a clear-cut ending.
“Miss I-Doll” is a must-see golden buzzer, 10-point, perfectly matched winner of a show. A real survivor of the reality TV genre, this production will dance its way into the hearts of its viewers, leaving them idolising the sharp wit and critical lens it applies to the often surreal elements of reality television.
This show was reviewed on the 21st February 2025 at The Other Palace, London where it runs until the 9th March 2025. Tickets available here: Miss I-Doll – The Other Palace Theatre
Review written by Valentine Gale-Sides
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Photo credit : Mariano Gobbi
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