Those who have been following my page for a little while will be aware that, just under a month ago, we chatted with the wonderful Emmy-nominated writer Ren McAslan (which you can watch at https://youtu.be/eStgipw3_xg), where we discussed his one-person show, Woman Seeking Cuddles, which is headed to this year’s Edinburgh Fringe Festival. With this in mind, I knew that when it was announced that a recorded preview performance of this one-person production would be available on YouTube for free (which you can watch for yourself at https://www.youtube.com/watch?v=35doPwkECx4), I had to see where the show was on its journey before making the very long trip to the Fringe in August! The show itself follows the life of Harper (brought to life by the insanely talented Hannah Strauss), who sits down with the audience to talk about her experience of hook-up culture and unknowingly sleeping with the sperm donor/father who brought her into the world but, until this point, had never had a face-to-face connection with her. Following this traumatic event, Harper’s life begins to spiral (as it would for anyone in this situation), leading to a series of unfortunate events and, most importantly, an exploration of polyamory in the modern world. I do think it is very important to share that this is absolutely a show intended for a more mature audience, as it contains strong language, drug and alcohol references, sexual content, and depictions of violence throughout. However, for those old enough to engage with these intense topics, it will have you on the edge of your seat from the very first moments of the show.
As expected in a one-person production, the highlight of the show is the incredible Hannah Strauss, who immediately grabs the audience’s attention the moment she steps onto the stage and does not let go until the final moments. For any performer, this is an incredibly difficult feat, particularly when they are the only person on stage, but Hannah appears completely at ease throughout. She perfectly captures every emotion Harper experiences, allowing the audience to effortlessly follow her journey from euphoric highs to devastating lows and back again. Despite being the only performer on stage, Hannah is far from the only character. She showcases impressive impersonation skills as she brings to life a plethora of characters, including Harper’s mother and various people she encounters at bars. These transitions never feel confusing and instead help transport the audience deeper into the world of the show. I do have to mention that the opening moments contained some microphone issues, which occasionally made it difficult to understand what was being said. This was particularly noticeable when Harper hugged herself or rubbed her chest, creating direct contact with the microphone. It may therefore be worth considering a different microphone placement to avoid these issues in future performances.
As someone who has seen countless shows over the years, I think it becomes painfully obvious when a production has carefully considered the purpose of every prop and scenic element. When these theatrical components are used not only in a realistic way but also in a manner that complements the world being created, it elevates the entire experience. It is clear that the team behind Woman Seeking Cuddles share this philosophy, as the mirror in particular serves both a narrative purpose and fits seamlessly into the wider stage design. The show gets off to an incredibly impactful start, with Harper visible through a transparent on-stage mirror, the word “slut” written across her chest as a wonderfully moving song blasts through the speakers. This moment highlights the damaging way many women are still viewed, often reduced to being “a wife, whore, mistress, maid or mother”. Not only does this opening shock the audience, but it also establishes a clever through-line that later reappears as Harper explains how she found herself in such a devastating situation. While exploring polyamory, Harper arranges to go on a date with someone who quickly reveals that he would like her to go to the bathroom and write the word “slut” across her chest because it is something he finds sexually appealing. This causes Harper to flee and seek refuge with another romantic interest, one of the few people in her life who consistently treats her with kindness and respect. Even those with only a basic understanding of psychology (myself included) are likely aware of the symbolic power of mirrors. They are often viewed as powerful tools for self-awareness, emotional regulation, and interpersonal connection. As a result, watching Harper descend into increasingly dark and intense reflections of herself whenever she steps behind the transparent mirror is a particularly clever creative choice. When addressing the mirror (even though the words are spoken directly to the audience), Harper reveals not only the hurtful phrase written across her chest but also her habit of spitting as a response to trauma and her deepest thoughts about herself. The mirror therefore functions as both a change of scenery in a production that never physically changes location and a space where Harper can drop the façade she attempts to maintain throughout the show.
Overall, Woman Seeking Cuddles is an intense and powerful one-person production that explores identity, modern relationships, and the rise of polyamory while simultaneously confronting the outdated and often offensive attitudes many people still hold towards women. The structure of the show creates the feeling of a dark and emotionally charged therapy session, with Harper speaking directly to the audience throughout. This allows viewers to gain a genuine insight into her mindset, something that is only strengthened by Hannah Strauss’s powerhouse performance. While the microphone issues in the opening moments and some of the mimed sound effects created minor distractions, these concerns quickly faded and the audience became fully immersed once again. This is a testament not only to the purposeful writing of Ren McAslan but also to Hannah’s remarkable ability to convey every emotion and nuance with apparent ease. The closing moments of the show are particularly powerful and moving, and they would not have the same impact if the character had not been written and performed with such care and intention.I would rate this production 4.5 stars out of 5!
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