FringeReview UK 2025
Harriet Madeley Outpatient
Crowded Room Productions and Reading Rep Productions with Park Theatre
Genre: Contemporary, Dark Comedy, Feminist Theatre, LGBTQ+ Theatre, Live Music, Mainstream Theatre, New Writing, Short Plays, Solo Play, Theatre
Venue: Park Theatre 90
Festival: FringeReview UK
Low Down
Harriet Madeley’s prizewinning Edinburgh Fringe Outpatient plays at Park Theatre 90 directed by Madelaine Moore till June 7th.
Highly recommended. Except to the anti-death league.
Review
“It’s weird we don’t talk about it” says Olive on her pink running machine. So why not pitch an article about death by interviewing dying people? Which is great till you find out you should have been dead yourself about, oh a year ago. Best part is, it all happened. Sort of. Harriet Madeley’s prizewinning Edinburgh Fringe Outpatient plays at Park Theatre 90 directed by Madelaine Moore till June 7th. Even the title’s a pun.
It’s a mouthful, dying. Primary sclerosing cholangitis. Which effectively clogs the nerves in the liver which sends out defence signals and you close down .You can tell this will be fun. Olive has had the condition for ten years she discovers, accidentally barging into a unit to chase a story (she’s rather ruthless and self-serving with one woman); only to find she really does have to go under the MRI. She’s told calmly first, not to google it. Then, that she‘s had this ten years and life expectancy is nine.
Madeley, whose life/death story this is with enhancements and exaggerations, engages as she bounces round the room, off the walls, freshly peach painted we’re told. Olive’s in cope-mode and insufferably positive, till she isn’t. With voices off we’re introduced to fiancée Tess, a war correspondent with fatal empathy issues, her parents, her “friend” Iona with an insufferable gooey voice, all concern; and an older woman Evelyn. Olive had been going to meet Evelyn before, to talk about dying. Now they’re on the same side.
Madeley wittily sashays through her ‘affirmative’ selfishness. Which means pushing away Tess, fixating on serene Evelyn who certainly does much more for her than her mother’s fellow psychotherapist Jackie. “This woman is my guru!” Olive shouts in a eureka moment. Dying is an obstacle race through others’ good intentions. They’re like bollards you slam into.
Madeley makes sure you fall for Olive. Her winning smile, her offhand wit, all metro chic and light irony with character gags, ensures that of course you’re on side with Olive, and groan every time Iona comes on stream saying “Let’s strategise”; and that whilst Olive’s alive she owes people something. “We could go to Madame Tussaud’s.” Even better is going with Mum and Tess, to see ”a Norwegian film about suicide.” And to cap that, Olive’s complex “shower” day with Tess’s twin sister Lizzie, also gay, and a gorgeous sperm donor, and…. a shower.
One of Olive’s great moments comes when she impulsively gives her debit card to a train beggar (with pin?), then finding she can’t pay for a beer, runs off with it, punching a security guard; and lands herself in a police cell. Another is catching up with Evelyn to go clubbing, and rendering “I Shall Survive” with gusto. It gives her an idea, to enter a song competition. Something to live a few months for. And to run a marathon with Evelyn. Both happen, but differently. After dropping acid with Evelyn she wakes up in bright day. Has it been a dream? Tess wants her to poo into a U.S.-bound box, and just to please her (Madeley smiles) she tells us she does (no box was harmed in this performance).
With Megan Lucas’ deceptively minimal lighting and projection (with real-life reveals at the end), and various voices from Bella Kear’s sound, Madeley bops Olive on her pink running machine or outsize ball cushion which seems to pursue her as if she’s someone out of The Prisoner.
There’s climactic moments: death isn’t where you think it is, and near-death too stalks. Yet how does Olive morph to Harriet? It’s worth finding out over 70 minutes playing whack-a-mole with death. Madeley’s a superb – and extremely funny – performer of her own work; the material’s equally strong. There’s some fifth-wall moments and an original pay-off that matches the progress of Olive’s – and Madeley’s – condition. Highly recommended. Except to the anti-death league.
Stage Managers Jessica Taylor, Leigh Arthur
