Reviewed by Giada
Miss I-Doll is a fierce, punchy, and razor-sharp musical satire now playing at The Other Palace Studio.
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| Photo by Mariano Gobbi |
In a parallel world where Barbie takes the Substance - unlocking a “better” but uglier version of herself (because realness is messy!) - Mia, one of the final five contestants in the Miss I-Doll pageant, suffers a concussion. What should have been a once-in-a-lifetime opportunity morphs into a full-blown revolt against the industry’s grotesque underbelly. At first, the production, led by the iron-fisted Maria, is horrified. But when Mia’s defiance sends her popularity soaring, they do what the industry does best: package and sell the rebellion. The system never loses. Even Mia, the new voice of truth and face of the pink revolution, is ultimately commodified.
From an original concept by Ilaria Fioravanti, writers Tobia Rossi and Oliver Lidert craft a show that gleefully takes the piss out of itself. Every character is a heightened caricature, locked into exaggerated stereotypes - mocking not just those who cling to the status quo but also those who smugly believe they’re tearing it down. The satire is ruthless, sparing no one: the audience at home, the desperate contestants, the cutthroat sponsors (Fanny-Fresh™ when?), and the entertainment machine both onstage and in real life. It brilliantly exposes the hypocrisy of those who see themselves as morally superior while remaining complicit.
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| Photo by Mariano Gobbi |
Incredibly witty and disturbingly timely, Miss I-Doll skewers everything from J.K. Rowling’s transphobic tirades to P. Diddy’s criminal allegations, from hollow corporate “every-colour washing” to the absurdity of performative wokeness. It’s a glitter-drenched gut punch—hilarious until you realize you’re laughing at yourself.
At the centre of this whirlwind is Daisy Steere, delivering a jaw-dropping tour de force as she seamlessly juggles over ten roles. With impeccable comic timing and powerhouse vocals, she embodies each character so convincingly that you forget it’s a one-woman show.
Under Ruthie Stephens’ direction and featuring music by Simone Manfredini, the production benefits from their deep West End expertise, proving that Miss I-Doll can stand toe-to-toe with the biggest, glossiest musicals out there. Ellie Wintour’s set and costume design leans into the blinding, artificial world of pink, silver, and rhinestones—where everything glitters but nothing is gold—while Alistair Lindsay’s lighting design masterfully punctuates every scene, balancing high-camp spectacle with intimate moments.
A show this wickedly executed even made me slightly reconsider my deep-seated hatred for musicals. And that’s saying something.
⭐⭐⭐⭐⭐
Miss-I-Doll plays at The Other Palace Studio until Sunday 9th March 2025. Tickets are available from https://theotherpalace.co.uk/miss-i-doll/
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| Photo by Mariano Gobbi |
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