What I liked
First, I want to credit all seven performers on tackling a difficult subject matter with sensitivity and compassion. Stand-out performer Tommi Jo Mongold is in a class all by themselves. Portraying the protagonist, Andy, Mongold rises to the challenge of carrying this show on their shoulders while showcasing a wide emotional range.
Joining Mongold, I was also deeply impressed by Nico Fisher’s captivating performance as Tia and Larissa Dowling’s portrayal as Milo. Both Fisher and Dowling are credible supporting ensemble members with compelling story arcs.
Also, I want to applaud director, Meghan Ripchik for inventive staging, flawless transitions, spot-on music choices, and overall storytelling.
What I didn't like
In the spirit of helping the show grow, I offer the following suggestions:
1) A dramaturg would benefit this piece as there were times I was lost/confused about what exactly was going on. Also, while I knew time was progressing, I was unable to clock each age the teens were supposed to be.
2) Shaving off at least 15 minutes will make this play much stronger as it will take away repetition and only introduce new information. There were too many times that Tia’s unknown absence was danced around.
3) I missed seeing Ava and Mattie after they disappeared. They brought about some nice comedic relief to the story.
My overall impression
Very few topics in the world have consensus. However, I am willing to bet that all of us can agree that puberty is the pits. Sadly, females get an unequal added bonus in the form of menstruation. Sadly, aging is just harder when blood is involved. And Gillian O’Leary’s play, Girl Blood, is proof of that.
With questions about sexuality and issues with parents and friends circling around, this 90-minute drama is not afraid to dive deep into discomfort. In fact, having characters freak out, cry, and even yell humanizes this very challenging time in an adolescent’s life.
All seven of the characters collide in scenes at school and home while existential life questions circle overhead. Specifically, the play confronts how a person exists in a body they don’t like. Additionally, one of the most poignant components of the play questions how a person figures out who they are or who they are meant to be.
