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Review: ROLEPLAY at Soho Theatre

Francesca Shaw 27 October, 2026, 14:29

Natural-born comic, Hannah Reilly, brings us bold new writing with a one-woman show full of hilarity and home truths. ROLEPLAY lets us laugh at the absurdities of navigating the world as a woman before slapping us in the face with the ugly side of sacrifice. Fresh from huge success at the Edinburgh Fringe, you won’t be disappointed. On until 21st November.

Roleplay at Soho TheatreRoleplay at Soho Theatre. Photo by Mihaela Bodlovic

In a world full of male-led podcasts sharing their hot takes on looksmaxxing, bio-hacking, or how to make a million, it’s easy to imagine the plight of our protagonist: a podcast editor who is presented with the opportunity to make it big as a host herself. Surrounded by those who seek to control her, Danni is marketed as a tell-all sex and relationship guru. With pressure to provide anecdotes as content for the podcast, Danni does away with self-judgement and throws herself into new experiences in the name of “market research”.

Brilliantly directed by Paige Rattray, and in an exciting collaboration between Francesca Moody Productions (Fleabag, Baby Reindeer) and Global Creatures (Moulin Rouge! The Musical, Muriel’s Wedding The Musical), ROLEPLAY conjures all the tension and complexity of an ensemble piece. Reilly seamlessly switches between phony studio exec and success-hungry podcast producer, showcasing a talent in creating easily distinguishable personas; her ability to rotate through a myriad of characters shows impressive range and keeps us laughing throughout. The witty satire of gender relations in the workplace is delicately interweaved with the vulnerability of feeling misunderstood and misrepresented. Many lines are unforgettable in the way they pinpoint shared female experiences so rarely articulated on stage.

As is often the case, it is the other women in Danni’s life which voice their judgements, raising questions about selfhood, empowerment, and sexual freedom. Reilly sensitively depicts the torturous yet unconditional bond between mother and daughter. The clashing of two generations’ understandings of feminism is strikingly captured. Danni’s best friend represents hyper-normativity in the piece with her traditional family set-up, and provides an interesting counterpoint. Articulating the irony of women who seem to need nothing, and, therefore, get “everything”, perfectly encapsulates the unspoken rivalry and comparison of female relationships in the play.

Reilly’s strong writing shines through the performance’s chaos and ferocity, conjuring suspense, purpose, and high stakes. The play starts and ends with a bang, with plenty of bangs in between. With twists and turns to keep you on the edge of your seat, ROLEPLAY is a fast-paced and engaging story that speaks to a broad demographic. The writing asks questions that at once seem age-old and shockingly contemporary: Is being desired women’s greatest power? Can sexual freedom be empowering? How can we evolve and remain true to ourselves? Reilly may not have all the answers, but she knows how to find the funny side of trying to figure them out.

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