Lamesha Ruddock
Never thought I’d enjoy hearing “Good Girl”!
After deciding to stay with a serial cheater, Alix finds order in the chaos of her slowly imploding relationship with a Twitter Dom.
Good Girl is exceptionally raw, a series of self-assured decisions in the shadows, steered by the brilliant writing and performance from Mimi Collins.
From the 4B movement to Jennie Young’s Burnt Haystack Method, we’re living in a world questioning how much we must compromise for the sake of a partner. Good Girl pushes the conversation from cheating to ethical non-monogamy, from stolen passwords to digital voyeurism. Good Girl dares to ask how can centering pleasure free us from shame? Good Girl explores healing through sexual liberation and finding space to learn more about your needs whilst unravelling from a toxic entanglement.
Collins is a magnetic world-builder, self-deprecating in moments, powerfully submissive in her surrenderment to her Twitter Dom aptly called “Daddy”, whose booming voice is localised to Collin’s phone. Ellie Pyle’s direction keeps the pacing tight even when the cycle of cheating had the audience exasperated.
Good Girl is intentional: it preps you psychologically before entering the liberating world of BDSM: the painful, the degrading and the aftercare.
Recommended Drink: Whatever Daddy chooses.
Performances of Good Girl have now concluded at EdFringe 2026.
Ellen Leslie
