Weather Girl
Premiering to rave reviews and a sell-out run at the Edinburgh Fringe last year, Brian Watkin’s very timely and thought-provoking piece has earned itself a West End transfer.
A 60-minute monologue performance by Julia McDermott as Stacey is nothing short of extraordinary. Set against the backdrop of a fast-paced, modern media world, the play blends humour, drama, and heartache in an effortlessly engaging manner.
McDermott's portrayal of Stacey is both raw and nuanced. As a weather presenter grappling with the pressures of her career and personal life, Stacey is a character that feels incredibly real and relatable. From her moments of vulnerability to her sharp wit, McDermott brings Stacey to life in a way that resonates deeply with the audience. Her emotional range is astonishing; she can make you laugh with a sardonic remark one moment and then leave you holding your breath in a moment of heart-breaking introspection the next.
Brian Watkins’ script is intelligent, witty, and brilliantly crafted. He has created a world that feels simultaneously familiar and unsettling, mirroring the highs and lows of a media landscape where everything—success, relationships, self-worth—is constantly being scrutinised. The character of Stacey finds herself at the mercy of public opinion, as her image is manipulated by the industry that depends on her, and Watkins expertly uses this tension to explore themes of self-image, fame, and the pressure to conform.
The writing is sharp and purposeful, with almost every line feeling like it has been meticulously crafted to convey deeper meaning. Watkins doesn’t shy away from tackling complex topics such as mental health, identity, and the isolation that comes with public life. There is a poignant depth to the interactions between characters, with Stacey’s journey of self-discovery unfolding through small yet significant moments of connection and disconnection.
The direction of the play by Tyne Rafaeli is equally impressive. The pacing is swift, yet never rushed, allowing the audience to fully absorb the emotional weight of each scene. The set design is minimalist yet effective, with the sleek and sterile aesthetic of a news studio serving as a perfect metaphor for the emptiness Stacey often feels in her own life. The lighting and sound design work harmoniously with the narrative, enhancing the tension and drama at key moments.
Julia McDermott’s performance as Stacey anchors the entire production. Not since Nicole Kidman in Gus Van Sant’s ‘To Die For’ has a weather girl been so enthralling. McDermott has an innate ability to make Stacey’s struggles not only relatable but deeply human. Throughout the hour as Stacey’s chugs on her flask of Prosecco get longer and more desperate, McDermott never once loses the attention of the audience as we find ourselves facing up to the same challenges, be they personal ones or the global ‘climate emergency’.
In conclusion, Weather Girl is a sharp, emotionally charged, and timely exploration of life in the public eye, bolstered by a stellar performance from McDermott. Watkins has crafted a powerful narrative that challenges the audience to reflect on the cost of fame, the nature of self-perception, and the complexities of modern identity. This play is a must-see, and McDermott’s portrayal of Stacey is nothing short of exceptional.
This show was reviewed on the 10th March 2025 at the Soho Theatre, London where it runs until the 5th April 2025. Tickets available here: Weather Girl - Soho Theatre
Review written by Mike Stocks
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Photo credit : Pamela Raith
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