Gaia Mondadori delivers a high-energy performance that somehow gets you sympathising with a largely unlikeable character – a testament to her charisma on stage.
Mondadori gives a committed performance in Centre of the Universe that perfectly toes the line between real moments of humour and heartbreaking tragedy, so much so that you never quite know what’s going to happen next.
The manic energy might have you worried that what you’re about to see is simply a slightly unbelievable character. What you actually get is a larger-than-life personality, but one that is intrinsically and heartbreakingly human.
Stick with Mary past the giggles that cover the tears glimmering in her eyes and you uncover the story of a girl desperate for acceptance and love. You may not agree with her methods, but by the end of Centre of the Universe, you’ll find it hard not to empathise with her journey.
In 2025, you can never emphasise enough the insidious nature of parasocial celebrity relationships, and Centre of the Universe navigates the thorny topic with a deftness that takes you by surprise.
Technically speaking, the set dressing is well thought out and does a lot with a little. The costume changes match the pace well and are cleverly chosen to bring the audience full circle in the closing scene. The headlights in particular are neat touches that bring different objects to life and expand the world beyond the small confines of the stage.
Mondadori keeps her performance on a razor-sharp knife’s edge throughout, and it’s impossible not to be right there with her. As the stakes get higher, the tension builds, at odds with her starry-eyed smile and giggles. That wide-eyed portrayal speaks to an instinct for when a moment needs to wallow in the darkness, and when to lighten the mood with genuinely witty asides.
Centre of the Universe is an example of remarkable writing, delivered with a powerful performance so convincing that you’re truly lost in Mary’s world for the duration.
