Writer: Ena Begovic & Ben Mansbridge
Director: Sofia Zaragoza
Performed by: Ena Begovic
Reviewer: Lela Tredwell
This stirring one-woman show busts open the world of internet influencers to take an honest look at the dark side of social media. Addiction, obsession, and self-loathing are explored in this energetic, vibrant piece of theatre that will have you questioning your relationship with your phone. Punchy, humorous, and thought-provoking, expect a whirlwind ride through the peaks and troughs of internet fame.
In search of money, celebrity, and more success than Petra – her ‘perfect’ sister, Croatian Lucija Antonija Matic (Ena Begovic) creates Daisy Woolworth, an Instagram alter ego. From under layers of sparkling make-up, she carefully choreographs her life to look as fabulous as she thinks it should. Regardless of whether the attention she is receiving online is positive or negative to her person, Lucija keeps on craving those ‘dings’ and ‘pings’. She grasps her phone to her at all times, checking the screen constantly, clinging to the device like it is this man-made machine, or monster, upon which her very life depends.
From the moment we enter the theatre, we’re swept up into the world, as Daisy Woolworth (Ena Begovic) invites members of the audience up into her space on stage to pose for photos while holding up cardboard emoji affirmations that are eerily reminiscent of protest signs. It’s a clever strategy. Now we are accomplices, enablers, even in Lucija’s addiction. As Daisy, she promises to share our selfies for a ‘follow’ of an Instagram account that exists in the ‘real’ world at daisy_beautyme. We are immediately called upon to question our own social media consumption, and the comparisons don’t stop there. Chiming notifications sound out to get our well-trained brains excited.
Ena Begovic (Lucija) gives a shining performance and manages to create a skilful balance with Lucija Antonija Matic where we can both view the vacuous, ridiculous, demanding Daisy Woolworth, but understand that the character does not end with her alter ego. We laugh at Daisy’s antics but as things start to slip and the emptiness of Lucija’s addiction begins to dawn, we are rooting for her to discover the truth about her choices. The performance also raises a lot of questions about the position in which social media puts women. As Lucija tries desperately to exploit her body for the attention she craves, we are reminded of the darker purposes for which some corners of the internet and social media were created.
This affecting performance juggles comedy and tragedy so well that by the end, members of the audience are in tears. The character arc of Lucija (Begovic) is surprisingly moving, as any irritation with the social-media-selfie-obsessed influencer turns to compassion. We might also develop a disdain for the twisted world we’ve all helped create. This is a play about losing yourself to an addiction that society has been slow to fully acknowledge is damaging many people’s mental health. A powerful moment in the play comes when a nurse offers Lucija back her phone. It’s like handing an alcoholic in the early stages of recovery a bottle of whisky.
This affecting piece of theatre invites us to take a long look at ourselves and asks how, as our destructive influences are so heavily embedded in our day-to-day lives, we are ever to be truly free. Ultimately, though, it does offer us some hope.
Reviewed on 23rd May 2023
