Grit, Glitter and Gaslight is a fun and insightful dive into the entertainment industry from the point of view of a woman whose career was blighted by misfortunes and knockbacks in an indifferent industry. All-round showbiz survivor Sarah McGuinness tells her story in this one‑woman autobiographical cabaret-style show. First shown at the Edinburgh Festival Fringe in 2023, Grit, Glitter and Gaslight transferred to London in 2024 and has now arrived at the Circle and Star in Hampstead.
Sarah McGuinness tells her life story from childhood to the present day, illustrated with hits from the period, musical theatre classics and some of her own songs.
Her early life was filled with disappointment. As a young child, her family moved from London to Derry at the time of civil rights protests and the Troubles. Helicopters circling above her bedroom, barricades and bombs were her daily reality. She was relentlessly bullied by local children for being English, and on escaping to London was on the receiving end of anti-Irish prejudice.
A natural raconteur, she talks through the narrative like an old friend at a dinner party. The intimate space of the Circle and Star is perfect for her warm and direct style. On occasion she literally reaches out to the audience.
Sarah McGuinness sings with an assured, rich voice and adds theatrical expressiveness to familiar pop songs, making them part of her story. A rendition of Bowie’s “Life on Mars” as the young McGuinness leaves Northern Ireland for England is especially memorable. Her palpable joy in delivering the soundtrack to her life to a clearly doting audience is one of the big strengths of the show.
Grit, Glitter and Gaslight is set in the artist’s dressing room and McGuinness delivers some mid-conversation magic costume changes, aided by her trusty stage manager. She never looks happier than when flaunting a sequinned gown or glitzy tailcoat, owning a look that she remembers her disapproving mother describing as “a bag”.
Sarah McGuinness is clearly not the first artist with a difficult backstory. The path from modest background to a career in the performing arts is rarely an easy one, and tales of the setbacks of aspiring performers are nothing new. I was reminded of the myriad heartbreaks in A Chorus Line.
At two hours without an interval, Grit, Glitter and Gaslight is long and some of the anecdotes could have been tightened up. She never reveals who in the industry has mistreated her, which is understandable but renders the piece a little vague. However, Sarah McGuinness’s informal and self‑deprecating manner wins the audience over. After a career mostly behind the scenes, it is pleasing to see her enjoy her time in the spotlight.
Listings and ticket information can be found here
