Tag Archives: Adam King

I WAS A TEENAGE SHE-DEVIL

★★★

The Other Palace

I WAS A TEENAGE SHE-DEVIL

The Other Palace

★★★

“Almost sung through, and brilliantly so, the musical has still to find its voice”

The rock musical, “I Was a Teenage She-Devil”, opens with a bang; and as though aware that the only way is up, it keeps the energy levels pushing the high end of the rev meter to danger point. Eighty minutes and twenty-two songs later we are a little bit breathless. The show’s protagonist claims she has been to ‘Hell and back’, but it would be a stretch for us to make a similar assertion. It really isn’t deep enough to get anywhere near the underworld.

Sean Matthew Whiteford, the one responsible for the book, music, lyrics and orchestrations, hit upon the idea fifteen years ago. Originally titled “Girlfriend from Hell” it is a mash up of eighties, horror, cult movies and high school musical. ‘Grease’ meets ‘Cruel Intentions’, with a deal with the Devil thrown in among the many other gore-infested influences. On paper it is a chaotic mess. On stage it is similarly anarchic and shambolic, yet it knows precisely its target audience and goes straight for the jugular.

The premise is wafer-thin (as are the characters). Set in an American High School, Nancy (Aoife Haakenson) is the four-eyed, nerdy wallflower ostracised by the popular kids – the jocks and the cheerleaders and the cool ones. Bullied to breaking point she cries out for help. To the rescue comes Satan (Sean Arkless) with an offer she can’t refuse. The price is her soul. Obviously. The outcome is a bit of a bloodbath. Revenge is far from sweet, but redemption is a sugar rush.

Tiffani (Caitlin Anderson) is banned from the cheerleader squad for being cruel to Nancy. Aided by her boyfriend Big Rod (Jordan Fox) she decides to humiliate Nancy. We are not sure why Nancy delves into such pits of despair – she seems to be supported by (very) close friend Debbie (Ashley Goh). But love is blind, remember, and before we can open our eyes we have to experience the darkness. We know exactly where this story is going, every step of the way. Yet it is a funny and farcical romp through the guitar-powered score and the witty dialogue, firmly rooted in the eighties. There are constant references to the movies that inform the text, many of which would go over our heads if it weren’t for video-store worker Doobie (Jacob Birch) on hand to explain the joke. Completing the line up are Todd (Louis Hearsey) and Heather (Charis Stockton).

The script, like the song list, highlights the ensemble nature of the show. The supporting characters have some of the best lines, and everyone has their solo number. All eight cast members have the vocal ability, agility and variety to scale the heights of the rock belt and also to dip into the smooth waters of the ballads (Goh, in particular, achieves this with the dynamic ‘Looking for Love’). They say the Devil has all the best tunes, but here he has to share them with his co-stars. ‘Raise Some Hell’ is exactly what it says on the tin – an ensemble piece heralding Nancy’s transformation into spiky bad girl. Arkless’ Satan is more seventies Glam, while wearing the studded jockstrap pilfered form eighties band Cameo’s lead singer. It (the song – not necessarily the jockstrap) is a highlight, bathed in smoke, red light and gleeful appreciation from the audience. We are in Rocky Horror territory at times (‘Satanic Panic’), but the bulk of the repertoire – along with the hair styles and costume – is power pop through and through.

Director and choreographer Rachel Klein has her work cut out keeping the cast within the confines of the venue’s studio space. With the audience up close, and with the abundance of severed limbs flying around, safety must be an issue. And there’s the crux. The show errs on the safe and the predictable. A superficiality, and a mildness even, that the high-octane performances can’t disguise. Almost sung through, and brilliantly so, the musical has still to find its voice. While the characters are either looking for love or revenge or blood, we are looking for the teeth that can draw that blood. It won’t raise Hell. But it is easy to swallow, and a whole lot of fun with a devilishly fine cast.



I WAS A TEENAGE SHE-DEVIL

The Other Palace

Reviewed on 8th April 2026

by Jonathan Evans

Photography by Lidia Crisafulli


 

 

 

 

I WAS A TEENAGE SHE-DEVIL

I WAS A TEENAGE SHE-DEVIL

I WAS A TEENAGE SHE-DEVIL

POP OFF, MICHELANGELO!

★★★★★

Edinburgh Festival Fringe

POP OFF, MICHELANGELO!

Edinburgh Festival Fringe

★★★★★

“this camp, fairy-tale romp of a show is going to be the best hour and fifteen of our day”

A cloud drifts across the stage. Six tall columns stand proud, with a scattering of shorter ones—Doric and Ionic, naturally—not a Corinthian in sight. The cloud becomes a marvellous projection surface, alive with images that reveal the inner thoughts and inner musings of this gloriously queer fantasia.

We begin with Beyoncé’s 2022 triumph—her Renaissance, the album that changed everything. And then, we’re told, this show is about the other Renaissance. Of course.

Cue art history gags—the sort of jokes that send art historians into delighted squeals. Like how everyone “hates” Raphael (not true, of course, but who doesn’t enjoy taking potshots at the popular girls?). Our guides are the gay ghosts of the Italian Renaissance, and instantly we know: this camp, fairy-tale romp of a show is going to be the best hour and fifteen of our day.

Enter the brothers: Michelangelo and Leonardo. Yes, those guys—but here they are flaming, fabulous, and gloriously, unapologetically gay. Gay in both the homosexual sense and the whimsical, theatrical sense. Yet, in their time, love like theirs was forbidden. Cue a parade of songs so cheeky you can’t help but grin: mischievous “truths” such as the Mona Lisa being nothing more than a cute boyfriend in drag. When asked about new student orientation, the cast cracks: “heterosexual.” The show revels in falsification, camp exaggeration, and rewriting history with fabulous flair. And yes—there is a great Pope. Of course there is.

The scenic world of this piece is a clever use of tall and short columns, which shift and support the ever-morphing scenes. Michelangelo discovers a chisel, conjures the Pietà, finds a twenty-year-old block of marble, and miraculously liberates David from the stone. But in this work, what’s truly freed from the marble is love itself.

The message is simple, yet profound: we are all brothers, sisters, siblings, lovers, or none of the above, if we are aromantic, and that is okay, too. Whether we fall in love, never love, love differently, or love not at all, every expression—or non-expression—of love is vital. That is the rainbow light bathing the white columns. For it is not the pillars that hold this world aloft, but acceptance, love, and—let’s face it—talent.

There are moments when we must cry, “Pop off, Michelangelo!”

Moments when we must sculpt the seemingly unsculptable.

Moments when we ourselves must be freed from the rock—or pried away from the orgy.

And there are moments when chapels of acceptance are built not from stone, but from art and theatre. For theatre has always done this: told whimsical, joyful stories that whisper—no, sing—to the world: it doesn’t matter what you are, or who you are. You are special. Especially if you are Marisa Tomei.

The cast is outstanding: Max Eade (Michelangelo), Aidan MacColl (Leonardo da Vinci), Michael Marouli (Pope), Laura Sillett (Savonarola), Kurrand Khand (Salai), Aoife Haakenson (Mother), and Sev Keoshgerian (Italian Chef).

The creatives are equally dazzling:

Dylan Marcaurele (Book, Music and Lyrics), Sundeep Saini (Choreographer & Intimacy Director), Emily Bestow (Costume Designer), Adam King (Lighting Designer), Joe McNeice, Emily Bestow & PJ McEvoy (Set Design), Joe McNeice (Director).

So don’t be a Pick-Me Girl. Pick this. Let it erase the homophobia of the past and remind us that love is only ever love. For love does not separate us—it connects us. Or, at the very least, gets us through “ten years of art therapy.”



POP OFF, MICHELANGELO!

Edinburgh Festival Fringe

Reviewed on 17th August 2025 at Udderbelly at Underbelly, George Square

by Louis Kavouras

Photography by Danny with a Camera

 

 

 

 

 

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