Roe McDonnell
PALS, a powerful all women 4 hander has just finished its run at the Edinburgh Fringe this year but not before I headed down to the BSL Interpreted performance on the penultimate evening interpreted by Kitty Taylor-Brown. This stellar story is for fans of anything feminist, the girlies (gender neutral of course) who want to do anything else but clubbing and anyone who feels that ache of nostalgia when they think about their Duke of Edinburgh experience in secondary school.
This is the second time the production has featured at the Edinburgh Fringe with sold out performances and critical acclaim in 2024. But this year, features half a new cast and ‘new dimensions’ of their 4 central leads. Mirren Wilson and Tanya MacDonald return as writer/producer and director respectively for this new edit and they have taken it in their stride. This piece brings so much representation for multiple perspectives, young women stuck in dead end jobs but can’t seem to find a way out, feeling inadequate at your friends’ successes and feeling stuck behind as well as more deeper subjects that may hit very close to home for some viewers. with characters experiencing the impacts of PCOS (Polycystic Ovary Syndrome), being a young carer to a deteriorating parent and death of an animal. While these topics are more than important to discuss, a content warning is advised for any future runs to anyone who may feel its emotional impact.
But what is a stunning story without its cast? Amy Glass returns as the hyper feminine ‘heels on a hike’ Taylor who brings the hilarity of naivety and her social media obsession to the Patter House. Her comedic timing and characterisation is immense and her character development throughout the show is one of the most stunning I have ever seen ever.
Shelley Middler also returns as the kind hearted and sometimes naive Flo. Her character development throughout the show is equally stunning and Middler brings that out so naturally. Her bond with each character is so specific and raw, especially the way she shows love to each individual woman to make her feel positive and uplifted even when struggling herself. The closeness the full cast has together is so authentic and while this cast only had 3 full weeks from first rehearsals to closing night their characters’ 11 year friendship is captured so candidly in this piece.
Onto new girls on the block, Olivia Caw shines brightly as Claire. A young woman who cracks endless jokes and throws even more middle fingers on the outside but on the inside is dealing with something so much stronger. A proud queer woman and an even prouder Scottish lass, Claire has some of the funniest one liners and comedic timing and when you put Caw and Glass on a stage attempting to set up a tent for two minutes lead to hilarious adlib and maybe an R rating for the amount of swearing in the best and most normal way possible. Claire’s connection with Sadie and the discussions they have led to no dry eye in the house and ensures these topics are normalised and Wilson clearly dedicates this to every young person in the audience who is impacted by periods and family illness.
Finally Olivia McIntosh’s Sadie can park and bark if her life depended on it. The almost diary entry style of writing for the play works tremendously and Olivia delivers every monologue and scene with grace and precision. As ring leader and chef photographer on the adventure up the hill, she has a big task on her hands. But with her mothers film camera and favourite book on her side, this story and this cast bring their A game to create one of the most powerful pieces of theatre I have ever witnessed.
As well as all of this they were 1 of 13(?!) productions that staged both BSL and Audio Described performances throughout their fringe journey in 2025 and I hope the future of this production only means increased accessibility and the drive for more independent queer and women led tales.
Performances of PALS have now concluded at EdFringe 2025.
Jake Mace
Lamesha Ruddock
Jasmine Silk
