Note: This review is from the 2019 Fringe

Meadow wants to apologise, really. She’s been rather mean to her friend Miranda, and amends must be made. Hannah Moss plays our young protagonist and over the course of an hour wins the hearts of the audience.

The audience is addressed as Miranda and as we join Meadow at her apology party the production, also written by Moss, flashes back to the past events that have led to this point. This is a simple story, boy meets girl. It starts well. Then it all goes a bit wrong and he is not who Meadow thought he was. And after many tears and trauma, she realises the true worth of her childhood friend.

The script is quite straightforward, but the strength of the production lies in the creativity of the storytelling with a number of simple props and techniques aid the narrative. And Moss is instantly likeable, with an earnest quality about her. The audience is rooting for her from the start. And as she presents a powerful performance, covering a whole gamut of emotions, we are taken in. The story of her growing years and meeting her friend is very beautiful and makes people relate to her instantly.

Audience participation forms part of the show and with a little bit of involvement, Moss ensures the complete attention of the crowd. Even though she presents herself as a simple girl, telling her simple story, she is clearly working very hard throughout. The theme of domestic violence and sexual trauma is presented in a realistic way, consent is blurred, characters are neither black nor white. And finally, the use of fairytale metaphors works really well. They are used effectively to engage the audience and to create a sense of despair and urgency in some scenes as needed. A great piece of modern theatre by On The Run productions.