Mariedl – Selfies with a Giantess

As the audience enters the theatre, we are welcomed by “Roll Up! Roll Up! Come, marvel, be amazed!” Indeed, we are amazed! Here, from her lofty post, is a woman of uncommon height who describes herself in the manner of a carnival barker. Audience members are encouraged to take a selfie with this giantess – and I assure you, it isn’t easy, even with Mariedl (played by the excellent Maxi Blaha) bending to get in shot. (For the sake of Stage Whispers readership, I shan’t share my selfie!)

This marvellous play features the talented Maxi Blaha, who brings Mariedl to life. Mariedl is not like any other woman – her physical differences are unmissable. Through a mixture of dramaturgy by playwright Penny Black, the story of Mariedl is brought to life. Extremes of emotion are powerfully shown, sometimes through gesture, or vocal inflections, or Maxi’s expressive face. We are part of Mariedl’s journey, learning how cruel the world can be, experiencing the horror of a shy girl being poked and prodded by so-called learned doctors, her determination to be her authentic self, her business dealings and underneath it all, her quiet, strong faith and love of family. Mariedl is no two-dimensional business woman or performer, but rather a complicated mix of both.

The Swiss harpist Ursula Fatton provides excellent music evoking different times and places. Sound effects add to the atmosphere. A simple staging is enough – through music and acting, the audience is enthralled by the narrative and all eyes are on the stage.

Mariedl – Selfies with a Giantess is more than a staged memoir. There are probing examinations of the nature of fame, the worth of women, attitudes towards physical differences, and the ever-present panopticon that Mariedl must endure.

Rachel McGrath-Kerr