Girlhood in the Bathroom - 9.5 out of 10
Carclew Ballroom
TICKETS: Girlhood in the Bathroom | Adelaide Fringe
"Why do girls always go to the bathroom together?"
Created by recent graduates of Ballarat’s Federation University and emerging Australian artists, this show is a musical testimony to girlhood and growing up. Set in a club bathroom on New Year's Eve, the story follows five girls in their early 20s throughout the night as they navigate love, friendship, and the harsh truths about the world they live in through passionate and dynamic scenes and songs.
This was my first show for this year's fringe season, and oh boy, did I really kick it off with a bang! The audience was almost completely sold out and very lively, which was unexpected for a Wednesday night. Everyone laughed, I'm sure I heard a sniffle or two, and the claps and cheers were enthusiastic to say the least. I even joined in the standing ovation at the end, and it was truly deserved.
This one-hour mini-musical was the brainchild of the six young women that star in the show, no doubt inspired by personal experiences and individual life stories that come with being a girl entering the world as a young adult - as a woman. As a fellow woman in her 20s (though admittedly closer to the opposite end of the age bracket), I found a part of myself in each of the characters and recognised some of their arcs as my own. Though my early 20s and clubbing days only ended a few years ago, it was a strangely cathartic and nostalgic experience. Don’t be fooled by the title of the show - though the show primarily explores the theme of ‘girlhood’, the creators of this show stress that it is not just for fellow women in their 20s. The audience contained people of all ages, genders and walks of life, and any member of that audience would happily tell you that there was something they identified with in the show, and found something to take away from it afterwards.
As for the performance, I was astounded. Each performer blended beautifully as an ensemble and shone as individuals, both in their acting and singing. Each individual performer had their moment to shine, and there were plenty of impactful ensemble numbers. Due partly to the smaller stage size, there wasn’t an overwhelming amount of choreography, but the dancing that did occur was tight, efficient and effective. A specific shout out, however, must be given to the harmonies. They were crisp and heavenly on the ears, every single one. Whether they were singing three-part harmonies in a doo-wop style song or creating a discordant harmonic soundscape that chilled audience members to the bone, the performers truly came together and almost gave the impression that they were a single, well-oiled vocal machine.
Home-grown Adelaide performer and former TASA award winner Imogen Brown was astounding as Steph, the life of the party with an ex she can't get over and a head she can't get out of. Her acting ran the whole gamut from hilarious to gut-wrenching and back again, and her vocals soared, particularly in her song ‘Ode to Falling’.
Sarah Eaton played Gwen, Steph's best friend, confidante and anchor, and lead singer of my personal favourite song of the night, ‘F*ck Men’. Sarah equally gave cheeky best friend antic vibes and the pain of an individual who feels like an afterthought or a second priority, something I’m sure everyone has felt at some point in their lives.
Hannah Manderson was Zoe, a member of “the trio” along with Kiya (Amaya Pardillo) and Baylee (Alice Quick), a trio of best friends since primary school that find themselves quickly breaking apart for their own reasons. Their interactions with each other and with the duo are raw and real, with tinges of pain, longing and grief mixed with humour and compassion - all without being too over-the-top or melodramatic.
I have admittedly never been to Carclew before, but I very quickly fell in love with the space. The Ballroom was perfectly suited for the show - small and with simple enough tech to put on a high-quality show, but not so small that the audience or the stage felt claustrophobic. The crew made perfect use of the tech available, with lighting only changing to highlight the most dramatic moments of the show. I believe they used pre-recorded tracks, due to the fact that there were no instruments used on stage (except for a guitar and ukulele making a guest appearance with a fourth-wall-breaking nod and wink); however, I can’t be completely sure, as it was the most seamless use of pre-recorded tracks I’ve ever heard in a show, with vamping and cues conducted flawlessly. Credit must be given to Music Consultant Daniel Tusjak for no doubt being the reason behind it.
It's hard to believe that this show is technically still a work in progress. Though some scenes and songs could perhaps benefit from being further fleshed out, it doesn't at all feel incomplete or like anything is missing. Its short and snappy length, home-grown roots and celebration of original brand-new content make it perfectly suited to the Adelaide Fringe. It's clear that great care and effort has been put into the writing of the show and its songs, and this was a labour of love for all involved.
There's even a quiz to see which Girl in the Bathroom you are! Apparently, I'm Steph. Which girl are you? See the show and find out for yourself! But be warned, the tickets are selling fast, so grab yours while you still can! This is a show you will not want to miss.
- Carolina Fioravanti
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