Review: MisSfits, Etcetera Theatre

There’s something quietly courageous about testing out a new solo show in front of friends and family – those most capable of love and loyalty, but also the most familiar with your tells, hesitations, and nerves. At the intimate Etcetera Theatre in Camden, Helen Iley does just that, sharing a warm and thoughtful try-out performance of their upcoming Edinburgh Fringe piece, misSfits.

Framed as a primary school lesson led by the endearingly awkward Miss Elliot, Iley brings the audience into their classroom from the moment they walk in. In full role, they greet each of us with worksheets and chocolate digestives, instantly winning over the room with nostalgic charm and gentle mischief. The attention to detail is exceptional: from the ambient sounds of children playing outside, to the overhead projector glowing beside a peg-hung washing line – empty but ready for our schoolwork, the illusion is lovingly complete.

The “learning objective,” as introduced in true Ofsted-pleasing fashion, sets out to explore the concept of a “Baby Gay” – a term Miss Elliot promises we’ll soon understand. A classroom activity follows: we are asked to team up in threes and collectively draw fantastical creatures, each contributing a head, body, or legs without seeing the others’ work. This easy, schoolroom icebreaker gives way to the heart of the piece, as Miss Elliot uses these doodles to introduce verbatim-style stories of queer identity and coming out.

Each drawing becomes a springboard for a childlike exercise book, through which Iley voices tender, funny, and moving reflections from young people on their queer journeys. Whether repressed, tentative, or joyfully free, the stories have texture and resonance. Though it is never overtly stated, the strong implication is that these are real voices, perhaps anonymised and collated through sensitive research.

As the piece develops, a subtle emotional undercurrent takes hold. When the final story arrives (Georgie’s), we realise that the voice belongs to Miss Elliot herself. It is a devastatingly understated revelation: Iley has been slowly threading their own personal history through the work, and here finally gives voice to a character who has buried parts of their queer self for the safety and acceptability of heterosexual marriage.

misSfits is a show full of heart. It’s fun, inclusive, and deceptively layered, presenting as educational comedy but gradually revealing itself as a deeply moving piece of queer testimony. As a former primary school teacher myself, I found the classroom setting both pitch-perfect and endearing. There is real insight here into the joys and traumas of growing up queer, told with care, charm, and creative flair.

If I have a note, it’s only that Iley hasn’t yet fully settled into Miss Elliot. A few fluffed lines and small hesitations suggested nerves – understandable given the supportive but scrutinising presence of friends and family. I suspect this will evaporate once the show hits Edinburgh, where a more anonymous crowd will allow them to dive more completely into their role.

This is a delightful, generous, and important little show. It deserves to find its audience at the Fringe and will no doubt bring a moment of heartfelt calm amidst the chaos.

Written by Helen Iley
Produced by: Bullet Theatre and Hiley Productive

misSfits played at Etcetera Theatre for one performance only. It will play as part of Edinburgh Fringe Festival from Friday 1 to Saturday 9 August.