Review: Squidge, EdFringe

Venue 33: Pleasance Courtyard

Squidge, the debut solo show by Tiggy Bayley, presents an intriguing blend of dark comedy and emotional depth, as it follows the life of Daisy, a disillusioned teaching assistant in Lower Sydenham. The show delves into themes of grief, purpose, and the struggles within the educational system, all while Bayley juggles humour and heartbreak in a nuanced performance. Despite its strong points, Squidge sometimes falters in its execution, leading to a mixed experience.

At the heart of the play is Daisy’s navigation of the overwhelming grief of losing her brother. Instead of confronting her pain head-on, she chooses escapism, engaging in casual encounters and numbing herself with mundane routines. Her role as a teaching assistant becomes her only constant, tethering her to the world as she supports Paddy, a young boy with learning difficulties. Despite her initial reluctance, Daisy develops an unexpected bond with Paddy, especially after learning about his own loss — his younger brother’s death. This shared grief becomes the emotional core of the play, driving Daisy towards a cathartic release that is both inevitable and devastating.

Bayley’s portrayal of Daisy is commendable, with a subtle, understated performance that feels refreshingly authentic. Her dry humour catches the audience off guard, balancing the show’s darker elements with moments of levity. Bayley’s writing shines in these instances, showcasing her ability to navigate the fine line between comedy and tragedy without over-dramatising the narrative.

One of the highlights of the show is Bayley’s portrayal of Paddy. Rather than attempting to mimic a child, Bayley brings Paddy to life through his words and actions, creating a believable and endearing character. The interactions between the two are touching, offering a glimpse into the crucial role that caregivers and teaching assistants play in the lives of children with special needs. These moments of connection are where Squidge truly excels, offering depth and warmth that resonate long after the curtain falls.

However, despite the play’s various strengths, a number of the jokes didn’t quite land and felt a bit flat, which made some parts drag a bit, undermining the freshness that Bayley otherwise brings to her performance.

There’s also a noticeable ‘Fleabagification’ of the show, with elements reminiscent of Phoebe Waller-Bridge’s hit series. While the comparison isn’t inherently negative, it’s a trope that’s becoming increasingly common, and in Squidge, it feels somewhat derivative. The direct address to the audience, the self-deprecating humour, and the exploration of flawed (and often hypersexual) female protagonists are all hallmarks of this trend. While these elements work in certain contexts, here they sometimes feel too familiar, diminishing the uniqueness of Bayley’s narrative voice.

This is a show with considerable potential, offering a blend of humour and heartache that many will find appealing. Bayley’s performance is strong, and the emotional journey she takes the audience on is both engaging and poignant. She is one to watch, and her show is a promising debut, but one that could benefit from a bit more originality and polish.

Written and Performed by: Tiggy Bayley
Directed by: Selwyn Hulme-Teague
Produced by: Linda-Ray Ndlovu

Presented by White Noise Theatre & Ray Productions
This show has completed its run at the Edinburgh Fringe.

You can folllow Tiggy Bayley on Instagram here.