As a 23-year-old man, I can honestly say that I have never put much thought into the discussions that take place within the confines of women’s toilets. Now, with Stalled the Musical deciding to throw open its cubicle doors at the King’s Head Theatre, I was given a front-row seat to the musical receiving rave reviews as it unravels beside the sinks and mirrors.
Listening to beautifully emotional and heart-wrenching pieces of dialogue on topics of grief and motherhood, it soon became clear to me that this wasn’t the sort of subject matter that needed to be flushed away. Instead, it was to be embraced and welcomed in with open arms. Although the musical is called Stalled, it’s very much a story about progression.
Stalled unfolds episodically as we are led through scene by scene by toilet attendant Maggie (played by the Tony and Olivier award-nominated Lauren Ward). Maggie encounters a set of women who enter the space and divulge the drama taking place in their lives. This group of women consists of a young poet wrestling with words to try and define her self-expression, a teenager unsure whether to come out to her mother, and a well-meaning mum trying to connect with her neurodivergent daughter.
The acting is raw and visceral, and the space is used tactfully to indicate shifting relationships. We are only offered fleeting interactions between characters, missing out on the necessary development they deserve – the musical’s only pitfall. However, the set up adds to the musical’s endearing charm, allowing each audience member to feel just as much an observer of proceedings as the protagonist herself.
The opening number, Stalled, ironically brings the musical into a state of motion as we are immediately welcomed into the chaos, in a way that feels inviting. Lauren Ward delivers a stellar performance as Maggie as she negotiates her past and the problems of the women she interacts with. The musical honestly portrays how she is psychologically stalled as a result of her grief. Each scene feels authentic and offers an untarnished insight into motherhood from different angles.
With “Pay What You Can” Tuesdays, I recommend that everyone sees this new production. Despite its setting, it’s one of the most emotionally impactful productions you’ll see this year. Loo and behold there isn’t a musical quite like it.
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Islington-based journalist with experience at the London Evening Standard. Covering local politics, community issues, arts, and development. Focused on delivering clear, accurate reporting on the stories shaping Islington.