Girls Like That

Girls Like That, written by Evan Placey, is a sharp and urgent exploration of girlhood, social pressure and the brutality of digital-age judgement, and Perform Studios’ production captured this with striking clarity and maturity. From the moment I arrived, the warm and attentive front‑of‑house team set the tone for an engaging evening. The open pre‑set immediately pulled us into the world of the play: a modern, minimalist space scattered with personal items, bags, shoes, notebooks, water bottles, each one hinting at the unseen lives of the girls who would soon inhabit the stage. The arrangement of chairs and the stark, open setting created a sense of exposure and vulnerability that echoed the play’s themes.

If you’ve never seen Girls Like That, the opening image is unforgettable. A young girl stands centre stage in her undergarments, frozen in a moment of humiliation, while the ensemble circles her, hurling fragmented words, attention seeker, why would she do that? a verbal storm of judgement. Hannah Todd, in this pivotal role, delivered an extraordinary performance. Without speaking a word, she communicated fear, shame, defiance and heartbreak through her posture, her trembling hands, the dart of her eyes. Her stillness was as loud as the ensemble’s shouting, and her command of the stage in this moment set a high bar for the rest of the production.

One of the production’s greatest strengths was its physicality. Director Nicola Jay Crooks used movement not as decoration but as storytelling. The cast shifted scenes through fluid, choreographed transitions, sharp turns, collective breaths, synchronized steps that kept the energy alive and the narrative pulsing forward. For such a young cast, the precision and discipline required for this style is no small feat, and they handled it with confidence and purpose.

The script demands intense focus, with most characters remaining on stage for the entire act and dialogue that is intentionally repetitive and overlapping. This mirrors how teenage voices blend, echo and contradict, and the cast delivered it with impressive control. Even when minor prompts were needed, the strength of their characterisation carried the moment. Each actor maintained a clear emotional through‑line, ensuring the ensemble never felt like a blur of voices but a group of distinct individuals shaped by their own insecurities and loyalties.

The mobile phone scene was particularly clever. The cast used their bodies to mimic the frantic, buzzing chaos of notifications spreading, a physical representation of how quickly a rumour or image can spiral out of control. It was visually engaging and thematically sharp. The use of minimal props was equally effective. Swimming goggles instantly transported us to the changing room; a blazer thrown over a chair became a school corridor; a single spotlight transformed the stage into a confessional space. This simplicity allowed the actors’ performances to take centre stage.

Every performer brought something unique to the stage. Poppy Styles as Emily Morgan captured the tension between loyalty and self‑preservation. Tia Cooke as Grace Turner balanced humour with a simmering insecurity that felt painfully real. Lucinda Ross as Rachel Linwood delivered sharp, biting lines with impeccable timing. Rosabella Lee as Kayleigh Thompson brought emotional depth, especially in moments of internal conflict. Lexi Todman Gibody as Sienna Cartwright offered a grounded, thoughtful presence. Franki Lidguard as Jodie Bell shone in scenes requiring vulnerability. Ruby O’Neill as Felicity Hartford added a bold, expressive energy. Madison Holt as Skye Blackwell gave a nuanced performance that revealed layers of fear and bravado. Together, they created a believable, complex portrait of teenage girlhood, competitive, supportive, cruel, loving, confused and fiercely protective all at once.

The cast tackled themes of body image, peer pressure, sexuality and identity with remarkable maturity. Their performances never felt forced or performative; instead, they approached the material with honesty and emotional intelligence. This authenticity made the play’s darker moments hit harder and its hopeful moments shine brighter.

Throughout the play, several performers delivered standalone monologues, each representing a girl from a different era. Maisie Greaves as the Flapper Girl brought a playful yet poignant charm. Eliza Rowland as the Aviator Girl delivered her piece with fierce determination. Maisie Dixon as the Flower Girl offered a gentle, reflective moment of calm. Brooke Hadfield as the Shoulder Pads Girl embodied the boldness and bravado of her era with brilliant comedic timing. Each monologue was distinct, believable and beautifully characterised, adding historical context to the play’s central message: girls have always been judged, controlled and scrutinised, just in different ways.

Perform Studios delivered a bold, thoughtful and emotionally resonant production that showcased the talent and dedication of its young cast. The combination of strong performances, clever staging and sensitive handling of complex themes made for a compelling and memorable evening of theatre. Congratulations to you all, you thoroughly deserve high praise for this performance, I look forward to seeing you all again soon.

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