What I liked
Mimi Collins has written a complex, beautiful, and nuanced script which, under Ellie Pyle’s deft direction, she performs with a powerful vulnerability that feels real, grounded, and gritty. David Nett’s gentle, soothing, velvety voice provides an authoritative yet empowering and kind touch. The audience was audibly gasping (and occasionally cussin’) at the horrific actions of Alix’s ex-husband, and applauding the character’s growth. Collins is a magnetic performer who really shines in the intimate space of the Broadwater Studio. She makes an effort to connect with every audience member, amping up the personal power of the show. She performs so well opposite characters who aren’t there, and imbues the character of Alix with so much loveable charm and fiery agency. Even if you had a heart of crumbling charcoal, you’d feel compelled to root for her.
I’ve always been fascinated with these kinds of stories, and often disappointed by media depictions of them. The trap of these stories is boring sensationalism—-conflict driven by an arrogant or abusive Dom, a timid sub who’s the victim of (usually) his whims, exploitative sexuality/nudity that feeds the male gaze, etc. Good Girl avoids all of that. Modeling a healthy Dom/sub relationship that empowers/respects both partners, showcasing a sexually submissive person who is an active agent in seeking her own happiness, and featuring collaring/nude sequences that feel more like an epic poem’s arming of the hero than titillating fanservice, this production feels like that first inhale of mountain air after sitting in city smog for months. (I work a bit in the burlesque scene, and while the disrobing was a lot more grounded than a burlesque performance, it had a similar feeling in terms of being about the performer’s agency more than the audience’s sexual satisfaction.) I really appreciated that Collins took time to reflect not just on X’s boundaries and emotions, but that she recognized the parallels between how her discovery of this online community made her feel and how her ex-husband must have felt when he was being a jackass. The fact that she goes about it more healthily and respectfully than he did says all it needs to about power, choice, and willpower. She treats everyone, even her ex’s mistresses, with a similar amount of respect and accountability. Good Girl feels more true to the actual kink community than any other depiction of it I’ve seen, which is long overdue.
I also really loved the theatrical representation of subspace—-lights, sound, and Collins’ performance all working together to really take us there—-and the jarring interruptions of the ex-husband into that place of comfort and safety.
What I didn't like
Perhaps some trimming on the front end? I understand it’s important to set up what a horrible environment Alix’s ex made their home(s) into, but I feel like that’s established quickly and we can get into the ways Alix fights back quicker. Also, aftercare gets a little shoutout towards the end, but I feel like compared to other aspects of a healthy D/s dynamic it was glossed over a little.
Also, that shitty ex-husband could be improved. Not a note about the play, just like…damn. What an asshat.
My overall impression
A sobering, vulnerable, and moving solo show peppered with funny and sexy moments…
