Reality TV thrives on glitz, drama, and carefully curated personas, but what happens when the mask slips? Miss I-Doll, the electric new musical comedy set to take over The Other Palace Studio from 18 February to 9 March 2025, dares to pull back the curtain. Directed by Ruthie Stephens (Moulin Rouge! The Musical, Cinderella), co-written by Tobia Rossi (Hide and Seek, The Prince of Air) and Oliver Lidert (Fable, The Songs I’ll Never Sing), with music by Simone Manfredini (The Lion King, Les Misérables), this razor-sharp satire takes a ruthless look at reality television, gender stereotypes, green washing, capitalism, and the unrealistic pressures placed on women in today’s media-driven world.
Ahead of its anticipated premiere, The Indiependent sat down with writer Oliver Lidert, along with composer Simone Manfredini and director Ruthie Stephens, to discuss how Miss I-Doll came to life. From its biting satire and creative process to its deeper commentary on modern media and identity, here’s what they had to say.
Miss I-Doll is described as a “paradoxical contemporary fairy tale” that critiques reality TV, capitalism, and media through satire. What initially inspired you to tell this story, and how did it evolve into a musical?
Oliver: Honestly the world feels kinda f@£$ed up at the moment so a satirical comedy feels like the correct response to the insanity.
Which themes/ aspects of modern media and which contradictions or paradoxes did you find most compelling to explore?
Oliver: We as media consumers are constantly being sold to. Whether it’s a product or a perspective. Hell, even this musical is a consumer product that we hope has a fruitful life and 7 or 8 world tours. That’s the paradox, that’s how we all exist. We all can see that people are selling us something and yet most of us do nothing or buy what we are being sold. Our question as writers is how often do we take a
hard look at ourselves and question it.
As co-writers, how did you approach crafting a story that balances humour with serious social critique? Can you walk us through your creative writing process?
Oliver: The framework was already created by Tobia when I joined the project. I adapted it from the “Miss Italy Pageant” to a fictional reality tv show called ”Miss Idol”. But to answer your question, tragedy and comedy are the same, it’s just a question of whether you choose to laugh or cry. Also, I guess it matters if you dress it up in bright colours and up tempo music. But effectively we just tried to touch on, and make fun of as many social issues as made sense in the pre-existing framework.
Can you talk about the character arc of Mia? How does she evolve from the “perfect contestant” to someone who shatters the illusion of reality TV?
Oliver: Well, I suppose that question requires the purchase of a ticket… But what I will say is, nothing is as it seems. And just when you think you may have the upperhand, it is entirely possible that someone else has already accounted for your every move.
With Daisy Steere portraying 12 distinct characters, what were the key challenges in making each one feel unique and dynamic on stage? How did you approach characterization, staging and choreography to bring them to life?
Ruthie: Daisy is such a fantastic actor, and she is so willing to just throw herself into the madness that this show exudes, it didn’t take long for us to find all these different woman from all walks of life. We spoke about each character’s background, where they were from and how they came to be part of Miss I-Doll. Once we had that we worked on accent and tone and where each character pitches their voice.
Then, I think we had the most fun putting them on their feet and finding how they carry themselves and how they move within the space, that’s when they really came to life for me.
Simone, how did you go about composing the music for this show? Did the story influence your musical choices, or did the melodies help shape certain moments in the script? Were there any major musical influences or artists that inspired your composition?
Simone: It was the comedy that inspired most of the music, and obviously my musical theatre background. And even when the story gets into more serious subjects, the music tries to keep the tone light and funny. Every song has a specific music reference and style, which sometimes is in deliberate contrast with what happens on stage. As one of the characters would say…”just a bit of fun!”
Miss I-Doll explores complex themes of identity, perfection, and media-driven illusions. Have any of you had personal experiences—whether in theatre or life—that resonated with the story’s message?
Oliver: Well I am black, jewish and my parents were both immigrants, so I would not really know the first thing about identity, perfection, or media manipulation. Forgive my notable sarcasm. (pause for tragic laughter) Though we view the subject matter through a female lens, marginalized and oppressed communities share a lot of the same experiences. This was a driving force behind the subject matter. Comedy is a wonderful tool to help talk about life’s most uncomfortable subject matter. The final song in the show drives home my personal view point: “Admit you’re wrong, don’t play along, and listen. Finally stop escaping the world that needs reshaping. We could build a better life and start anew. But it’s up to you”.
With Miss I-Doll, what conversations or reflections do you hope the show sparks in today’s cultural climate?
Oliver: No hopes, just discourse. That’s all. Let’s talk, let’s listen, let’s have a disagreement that does not end in hatred. Let’s have a laugh together and realize life is crazy enough without painting each other as the enemy all the time. Maybe we can solve some real problems and perhaps even discover the spaces between us are not as big as we first thought.
Without giving too much away, is there a particular moment in the musical that you’re especially excited for audiences to experience? Perhaps because it’s your personal favorite, or because it was the most challenging to bring to life?
Oliver: Mia’s second song ‘F@£$ This Show’….. So much fun. I don’t think that I have heard a musical theatre song quite like it.
What’s next for each of you—individually or as a team? Any upcoming projects we should keep an eye out for?
Oliver: I currently have a kids show opening in Singapore at the Singapore Repertory Theatre called Threads; An Emperor’s New Clothes Musical. We hope to be touring and stop through the UK soon. It has a 80’s/90’s score and a very silly script that is as much fun for parents as it is for kids.
Simone: a few actually, in different phases of development. Lots of interesting new shows, and I think it would be worth keeping an eye on all of them!
Ruthie: Being an Associate Director keeps me busy for most of the year.
Lastly, in an era where musical theatre is constantly evolving—whether through technology, artificial intelligence, immersive experiences, or new themes—what trends or shifts excite you / or worry you the most about the future?
Simone: As a musician, AI applied to music composing is something that excites me as it’s already opening up a lot of different new possibilities. And it doesn’t concern me in terms of taking over real composers and musicians, because human beings’ imperfection will always make things better than a computer.
Ruthie: I think what most excites me about the future of musical theatre is bravery. I’m so excited by new writing, design, direction and choreography that isn’t afraid to tell the truth and be ugly.
To wrap this interview on a fun note, if all of you had to compete in a reality TV show, which one would you choose, and what’s your secret weapon or ‘hidden talent’ to outshine the competition?
Oliver: Man vs Food… enough said.
Simone: Any TV show…as long as I’m one of the judges…
Ruthie: I honestly don’t think I have the mental stability to appear on a reality TV show, haha. My days of being front and centre have long gone, I much prefer to be a (loud) voice, hidden away. Maybe The Masked Singer so by the time everyone found out it was me, it didn’t really matter anyway.
If Miss I-Doll were a cocktail, what would its ingredients be? And, of course, how strong is it?
Oliver: The Devil’s Advocate: 1 oz apple schnapps, 3 oz lemon/lime soda, 1 oz spiced rum1 oz fireball whiskey. Garnish with a red chilli, a cinnamon stick and hickory smoke. Strong, sweet and spicy!
Simone: it would have something spicy and sour but sweet at the same time. It will be frozen, but with fire. It won’t certainly leave you indifferent and you would either love it or hate it.
Catch Miss I-Doll at The Other Palace Studio in London for a limited three-week run from 18 February to 9 March 2025. Secure your tickets now for a night of laughter and sharp satire!
Words by Khushboo Malhotra
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