Margret, You're A Virgin! Spoiler-Free Review

4 out of 5 stars - THIS WEEKEND ONLY

TICKETS: https://adelaidefringe.com.au/fringetix/margret-you-re-a-virgin-af2025

Nearly-graduated high-school student Margret is met with a life-changing discovery; despite never having had heterosexual sex, she finds herself pregnant. This mystery and miracle trials her bonds with family and friends, puts her faith to the test, and forces her onto a profound journey of self-discovery while on the cusp of her adolescence.

With every Adelaide Fringe season, we see an influx of independent theatre production companies, which further creates opportunities for high-schoolers, freshly trained, or the stalwarts to showcase their skills and present new works. Gas Leak In The Air Productions is no exceptions, with Margret, You’re A Virgin.

 

Written, directed and produced by Mackenzie Ann, this is a crucial example that Independent Theatre by Adelaide Artists can equal the standards of award-winning community theatre groups in our region. This production was originally produced in 2024 as a staged reading, which I believe immensely helped the flow and the storytelling, being able to workshop what worked, and what didn’t, and while there’s room for further edits to tighten up scenes further after the Adelaide Fringe season, the Opening Night audience was delivered a stellar performance, leaving us all hanging for what was to come.

 

Leading the cast was Lucy Hay as Margret Herald-Carpenter with a wickedly consistent performance, all the way through to their conversation with the higher being, reflecting on the unfairness of her situation, only for it to be ripped away! This final monologue, which spans multiple pages in the script, was delivered flawlessly by Hay, and while could be tightened up in the script, made a few audience members tear up. Hay was tasked with dealing with and portraying a story that hasn’t been experienced by anyone in life, ever. And a ripper job she did!

 

Lucy’s girlfriend, Elsie, was brilliantly portrayed by Abbey Amber, whose pain was felt throughout the auditorium as she screamed at/for Margret, despite her apparent unfaithfulness. It only became more tense in Act 2 during their meeting at the High School Graduation… no words may have been spoken, but much was said in the silence! I only wish that there could have been some reconciliation at the end of the play, but alas, that wasn’t the point of the story.

 

Lucy’s mum, Joanne, played by Georjette Mercer, grew in character as we delved into the second Act, opening with the origin of Lucy, (played by Hay and Amber as Joanne and Adam). Once we had the backstory outlined in this scene, the audience could better appreciate Joanne’s motivations behind her decisions and dialogue, which was portrayed superbly by Mercer.

 

Lucy’s grandma, Debra, played by Ashley Kemp, was deeply religious, all the while, being the only one to love Lucy unconditionally. The constant language reminder between the family in heated conversations were a hoot, particularly when Grandma drops a “God Damn”. Kemp played this role suitably traditional, knitting an item in her opening scene. 

 

Olivia Perrey portrayed best friend, Rachel Abbott, who began as a character that could have been the wing woman Lucy needed in her trying times but ultimately chose to wander down a different path. (Lucy was truly left alone in this play!) Lucy’s other best friend was closeted Teddy/ Theodore, played awfully well by Jake Walder. Teddy is an arsehole, through and through. Teddy’s revelation about Rachel in the final moments was very left-wing, although left more to be desired from both characters… I guess it allows the audience to make decisions for themselves as they leave the theatre and reflect on their experience on the frive home. Together, Perrey and Walder portrayed their roles very well and have conveyed the text with dedication and commitment to the overall arch.

 

Finally on the cast list is the dead-beat Dad, Adam, portrayed skilfully by Sebastian Hollingsworth. Adam left Joanne when Lucy was a youngster, and has since, been a less-than father, forgetting her birthday, bailing on her graduation, and ultimately, abandoning all responsibility upon his daughter’s news. Another heartbreaking scene. Adam’s final comments after he hangs up the phone for the final time only twists the knife that little bit more.

 

Set was deceptively simple, despite the many scenes that were depicted throughout. The 2-person backstage team worked effortlessly through each scene change, knowing exactly what needed to be done.

 

I found it rather impolite to re address the Acknowledgement to Country after the Fringe-provided version had already been played with the version that the Flinders Drama Centre uses for all their productions.

 

Mackenzie Ann’s opening speech quickly dispersed any doubt in what the audience might be expecting, noting the activism and social changes that need to be desperately addressed within our communities before the show started. While I admire her commitment to the cause, the 5-minute speech was a little excessive and could have been tightened up without losing the key points she wanted to get across.

 

The show-specific merchandise and jewellery for sale in the foyer was a nice touch to furthering the cause Mackenzie Ann is so passionately invested in.

 

If you’re looking for a Comedy, this isn’t for you. But if you’re looking for a production that highlights the misogyny pervasions that exist in societal norms and goes widely unnoticed, then this is going to be your Fringe Pick! If you’re looking for a drama that pulls at your heartstrings, filled with deep conversation, then this will also be your Fringe pick.