Endometriosis the Musical is a smart and highly professional musical about the song-and-dance of getting a diagnosis and treatment for a chronic condition. It’s also hilarious, and an absolute masterclass in how to do issue advocacy effectively.
Beyond its skewering of the American healthcare system, the show is also a gentle send-up of wider business culture, from people who make the office manual their bible, to the general muddling of personal and professional relationships, and even the obligatory “Hang in There” poster.
Much care has obviously been taken to make the show relatable to everyone, not just those who suffer from endometriosis, or Americans who’ve discovered that their preferred doctor isn’t covered by insurance (as pretty much every American has, at some point), but anyone who’s experienced the frustrations of the need to self-advocate. The theme of being trivialised and dismissed, especially when female, is one that, sadly, knows no borders.
The show’s tack of making fun of the well-worn tropes of musicals while simultaneously using them in earnest is not original. It is, however, deployed perfectly here. Endometriosis the Musical maximises all the tools at its disposal, from running jokes to terrific visual gags, to the excellent costuming by Anna Luehr.
The entire cast, nearly all of whom multi-role, are superb. Particular stand-outs are Sarah Hinrichsen as the central protagonist Jane, and MJ Matheson as her boss and in other roles. Really, though, it’s difficult to believe the entire sure-footed and self-assured ensemble aren’t long-time Broadway veterans. This particular performance had some technical issues with distorted sound, but the actors’ precise enunciation rendered them a non-issue.
The songs, by co-writers Kristin Stowell and Maria Bartholdi, have extremely good integration within the story and are always enjoyable. While most are somewhat unvarying, you probably won’t be running out to buy the cast album, there are memorable numbers among them, such as Gina’s (Lorelei Frank) sexy ode to her gynaecologist. Unobtrusive live keyboard accompaniment throughout by Stowell keeps the focus on the witty lyrics and powerful vocals.
Although the Fringe show has been pared down from a longer production, it’s a good adaptation and the seams have been cleverly hidden.
Everything about the show is fiercely intelligent, and it’s a pleasure just to see the way in which even the smallest details have been carefully considered. Endometriosis the Musical would be a five-star show purely for its high-gloss polish, consistent and delightful stylisation, dazzling cast, and flawless professionalism. Pair all that with brilliant advocacy on an important issue, though, and this one’s a must-see.
Listings and ticket information can be found here
