A Fat Girl's Cry

Reviews

• Zac Fitzgibbon - Regional News

  Passionate, perky, and powerful are three of the many words that can be used to describe Celia Macdonald’s first original show, A Fat Girl’s Cry. Macdonald takes us on a musical journey about the importance of plus-size representation in the musical theatre industry. The show feels autobiographical and strikingly similar to Jonathan Larson’s Tick, Tick… Boom!, but of course with Macdonald’s unique, charismatic flair. Whilst specifically addressing the struggles of being plus size in the musical theatre industry, the show feels universally relevant, touching on the idea that oftentimes the things we get ridiculed for the most are our greatest assets. A Fat Girl’s Cry is truly a show for every body.

• Margaret Austin - Theatreview

  A powerful, impassioned, mood-changing triumph! It’s not often that a performance piece is both heartfelt and heartening. A Fat Girl’s Cry is both. Subtitled A Musical Journey for Every Body, the show explores unashamedly the stigmatisation of female plus size bodies. Macdonald holds us in the palm of her hand. Her singing voice is powerful, and her delivery aided and abetted by careful enunciation. There’s training for you. Such a theme is bound to bring forth observations about auditions, casting agents and directors. These are made, but the absence of bitterness – something that characterises the entire performance – is notable. Being referred to as “motherly comedic sidekick” or “roly poly newcomer” are rightly put in their place.