Review: The Sentimental Value of a Half-Eaten Biscuit and the Psychological Ramifications of a Lost Hair Tie, Bread and Roses Theatre

The Sentimental Value of a Half-Eaten Biscuit and the Psychological Ramifications of a Lost Hair Tie, which, for sanity’s sake, we shall now refer to as Biscuit, is possibly the longest and most chaotic title I’ve ever encountered for a theatre performance. It promises quirkiness, intimacy and a certain joyful, absurd specificity. But for all its eccentric charm, this solo piece, written and performed by Siân Kayleigh, struggles to deliver a satisfying dramatic journey.

The title may reference a half-eaten biscuit and a lost hair tie, but ironically, neither actually feature in the performance. Instead, the title serves as a kind of chaotic symbol of what awaits the audience on entering: a bedroom in utter disarray, clothes and objects scattered across the floor, and Oakley, our protagonist, preparing to go out. They have one hour to get ready, eat something, clean their room, shower, and call a few friends. The iPhone alarms are set, and off we go!

What follows is an extended, energetic monologue as Oakley attempts and mostly fails to carry out these tasks, repeatedly distracted by memories, anxieties and revelations sparked by the clutter around them. What is strange about this is that not only do the props indicated in the title not appear, but the blurb on the theatre’s website suggests that an old concert ticket and a pair of socks will be among the prompts to drive the monologue, whereas in fact, unless I missed something, they play no part. This hints that the premise of the promotion of the show took place long before the actual nitty gritty of writing it. In theory, it’s a neat structure: the bedroom as a metaphor for the protagonist’s tangled mind. But in practice, the show rarely settles long enough to dig into any one thread. There is constant motion but very little dramatic momentum.

The topics raised are important and relatable: neurodivergence, queerness, gender identity, complicated family relationships and therapy are all touched upon. But the emphasis is on breadth rather than depth. Many potentially rich moments are introduced only to be moved on from moments later. It’s an hour filled with sincere thoughts but little dramatic focus and it ends up feeling more like a flurry of open tabs than a cohesive narrative.

To be fair, Kayleigh brings a sympathetic presence to the stage. There’s humour in their delivery and moments of warmth that earn chuckles and nods of recognition from the audience. The writing has charm, and there are glimpses of relatable observational wit. But without clearer stakes or purpose, the monologue feels more like a stream-of-consciousness than a fully shaped theatrical piece.

Thematically, Biscuit wants to explore the fragmentation of the self: the difficulty of identity formation under pressure from labels, expectations, mental health, and memory. But ironically, the piece falls victim to the same fragmentation it seeks to depict. Without structure, the personal disclosures start to feel more confessional than crafted. Even chaos requires shape when translated to performance. As it stands, the show lacks both depth and destination, emotionally and in terms of storytelling, and sadly it doesn’t fully justify its journey.

Nevertheless, there’s some potential here. Kayleigh is clearly a thoughtful writer-performer with things to say. With some dramaturgical shaping, firmer structure, and clearer emotional stakes, this could evolve into something far more affecting. As it is, it feels like a work still in development: sincere, spirited, but ultimately unresolved.

Written and performed by: Siân Kayleigh
Directed by: Laura Price
Produced by: Hannah Balogu, Pansy Productions

The Sentimental Value of a Half-Eaten Biscuit and the Psychological Ramifications of a Lost Hair Tie
plays at Bread and Roses Theatre until Saturday 19 July.