A Fat Girl’s Cry

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.

Songs are well placed throughout the show, providing an exciting new context to some beloved musical theatre numbers such as All That Jazz from Chicago and Children Will Listen from Into the Woods. Macdonald and fellow actor Scott Christie performing the treasured As Long as You’re Mine from Wicked feels right and questions why we don’t often see plus-size performers in leading roles such as Elphaba.

I have never seen BATS’ The Stage so stripped down. I feel this aids the performance as it allows Macdonald’s potent story to be the focal point, rather than the razzle dazzle that most musicals bring. I love how stage manager Jess Weston takes part in the show, adding another talented performer into the mix.

My heart shatters into pieces at the climax of the show. The performers execute this perfectly. I feel Macdonald’s pain. No performer should ever have to feel how she has felt. It breaks me to think how toxic the musical theatre industry can be to those who don’t ‘fit the bill’.

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. The final number Absolutely Everybody is a fantastic way to end the show by celebrating people of all shapes and sizes.

Macdonald is a genuine, talented performer and I sincerely hope that she continues to take the spotlight that she deserves.

A Fat Girl’s Cry is truly a show for every body.