The highly anticipated Miss-I-Doll will be staged at The Other Palace Studio, an explosive one-woman musical comedy telling a modern tale of capitalism gone wrong. Following the story of Mia, a seemingly perfect reality TV show contestant, Miss-I-Doll takes audiences on a gripping journey as the TV show spirals into an explosion of vibrant passion, ruthlessness and outrageous satire.
Co-written by Tobia Rossi (Hide and Seek, Park Theatre; The Prince of Air, His Majesty’s Theatre; Cosa siamo nel buio, Mondadori) and Oliver Lidert (Fable, London College of Music; Threads, Singapore repertory Company; The Songs I’ll Never Sing, The Other Palace), Miss-I-Doll confronts a world entrenched with rigid gender roles and class distinctions. Derived from Ilaria Fioravanti’s original idea, Miss-I-Doll has been developed into an electric new British musical that will challenge these societal norms and capitalist motives.
Directed by the formidable Ruthie Stephens (Moulin Rouge The Musical, Picadilly Theatre; But I’m A Cheerleader, The Turbine Theatre; Cinderella, Gillian Lynne Theatre), Miss-I-Doll strives to spark conversation and challenge perceptions, providing a shared experience that will resonate with audiences on personal and social levels. Bringing his world-class expertise in music to this production, the incredible score for the show has been composed by Simone Manfredini (The Lion King, Lyceum Theatre; Les Misérables, Sondheim Theatre; 9 to 5, UK Tour).
Ahead of the run we caught up Tobia Rossi and Oliver Lidert to learn more about the show.
What can you tell me about Miss I-Doll?
Oliver: It’s a one woman political satire, the likes of which I have never seen in a musical. Sprinkle in a little Fleabag, the Book of Mormon and Katherine Ryan on a black box stage, add a bit of Gogglebox and Big Brother. Shake well with some show tunes and that is Miss I-Doll.
Tobia: To put it briefly, I would say it's a pop and anarchic fairy tale about what we are becoming, told with the rhythms and tones of a reality show.
Where did the inspiration for the show come from?
Tobia: After the first version in Italian, the show was rewritten and took on the form it has now. What initially aimed to be a parody of the most famous beauty contest in Italy has, through many rewrites, become a universal story of capitalism and self-determination, of prejudice and power. I’m sure that the shift in time and space, along with Oliver joining the writing team, has in fact created a new, more powerful (and more entertaining!) show than the original. The adaptation and rewriting from its original concept into the reality TV show Idol has been part of its new life here in the UK.
Oliver: It’s a one woman political satire, the likes of which I have never seen in a musical. Sprinkle in a little Fleabag, the Book of Mormon and Katherine Ryan on a black box stage, add a bit of Gogglebox and Big Brother. Shake well with some show tunes and that is Miss I-Doll.
Tobia: To put it briefly, I would say it's a pop and anarchic fairy tale about what we are becoming, told with the rhythms and tones of a reality show.
Where did the inspiration for the show come from?
Tobia: After the first version in Italian, the show was rewritten and took on the form it has now. What initially aimed to be a parody of the most famous beauty contest in Italy has, through many rewrites, become a universal story of capitalism and self-determination, of prejudice and power. I’m sure that the shift in time and space, along with Oliver joining the writing team, has in fact created a new, more powerful (and more entertaining!) show than the original. The adaptation and rewriting from its original concept into the reality TV show Idol has been part of its new life here in the UK.
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| Oliver Lidert. Photo by Billy Bustimante |
How have you approached the writing and development of the show?
Oliver: With a political fervour to correct injustices and a healthy sense of humour/skepticism. We have touched on a lot of social taboos, with the hope that we can look at ourselves, laugh and grow a bit at the same time.
Tobia: Some say that writing simply means telling the truth, and that's what we tried to do, digging in where we felt an important theme was being touched upon. We tried to put ourselves in the shoes of the protagonist, who, at a certain point, can't help but speak the truth, and our script is the result of this process.
How has it been seeing this show come to life for you both?
Tobia: It's fantastic because, like with any play, you truly understand how it works only when the words take shape through the work of the director and the performers. In this specific case, the actress and the director play a huge role in the economy of the story, and now that the show is up and running, I feel like I have many more questions than when I started writing it. Great, right? :)
Oliver: It is always a privilege to see a show you have written come to life. Naturally there is always a risk with a show like this that it will go down like a lead balloon. But I am hoping it’s taken more like marmite. And when we find our audience,they won’t be able to get enough!
Where did your arts career begin?
Oliver: My career in the arts started as an actor in the US. Born to a black British-Jamaican mother and a Polish-Jewish father, I make the joke that I was never going to fit in anywhere but the theatre. I studied to be a performer and since then was lucky enough to tread the boards on a few West End stages. But I started writing about 10 years ago and directing 5 years ago and have not returned to acting since.
Tobia: I studied in Italy, first as a director and then as a playwright and screenwriter. What has remained, and continues to remain, as a constant in my work is my love for stories. A passion even before being a profession, which I express in various ways: primarily by writing for the theatre, but also by working as a story editor and teaching in Milan, where I live.
How have you applied what you've learnt so far into the process of writing this show?
Oliver: All art for me is just a reflection of life, and shows like this are a window into a unique, personal perspective. Soeverything is in some way just the regurgitation, and hopefully one that people can relate to.
Tobia: I’ve tried, as always, to find the best form for this content. Because in the end, that’s what it’s about: using the languages we know in the best possible way, filling a slice of time in the most effective way in relation to the goal we've set, which is the deep meaning of the story—the very reason we sit down to write in the first place.
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| Tobia Rossi |
How has the collaboration with composer Simone Manfredini been for you both?
Tobia: Simone is a playwright of music, a storyteller; I don't think he's simply the person who wrote the songs, but a true co-author of the show, from its concept to its very structure. His music can be action, emotion, imagery, and theme. Besides being a wonderful person to collaborate and engage with, I've learned so much from him. The same goes for Oliver and the producer. What more could one ask for?
Oliver: It is always a joy. He is a true talent. His music always captures the emotional content of the story, and he elevates any project that he is attached to. I hope to create many more musicals with him, Tobia and Zava Productions.
What keeps you inspired?
Oliver: Honestly, I have always had a lot to get off my chest. I have more ideas than hours in the day and they are all fighting to be the next to come out. The world is a complicated place and as a writer I want to explore as many facets of life and my intersectionality as I can. I am a product of globalisation and the march towards a more inclusive future. I feel a duty to push forward and create.
Tobia: I try to listen deeply to what’s happening inside me and around me.
What do you want an audience member to take away from seeing Miss I-Doll?
Oliver: Hopefully they first and foremost have a lot of fun, but I also hope that they take the time to think about how they interact with images, identities, genders, media and stereotypes.
Tobia: A lot of fun and a small reflection on how many bad things happen without us even noticing.
Where can audiences see the show?
The Other Palace Studio from 18 February to 9 March 2025
Tickets are available from https://theotherpalace.co.uk/miss-i-doll/
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