The show is based on a simple concept: three women leave horrendously awkward voicemails on the phones of their male love interests, with potentially disastrous consequences. A number of scenes between an arguing, dysfunctional couple do not really seem to serve a particular purpose and, as a result, do not really fit in with the general concept.
The staging is well chosen and sparse: a single pink telephone placed on top of a podium flanked by three simple black chairs. Music is played loudly and obnoxiously during the overly-short scene changes, which begged the question whether or not music was at all necessary.
Natasha was the star of the show from the very beginning. Her stories and naive, hilarious rants were at once extremely funny and deeply moving. The audience instantly sided with her as their favourite character, remembering all the times they had acted in a similar, ridiculous manner. There were moments when it would have been legitimate to wonder why this wasn't a one-woman monologue revolving around Natasha's love life and no one else's.
However, the rest of the ensemble were good and the cast coped well with the material they were presented with. Having all the cast dress in black in order to allow the audience to easily sympathise with every one of the characters was a clever directorial touch.
Certain sections of the script felt superfluous. As I’ve already mentioned, the interactions between the only onstage couple were slow and unnecessary; whenever they were the centre of attention, I found myself hankering after the earlier hilarious but impactful scenes with the three single ladies.
The overworked overarching storyline makes the concept feel a bit forced and therefore lets the production down considerably. But Natasha and, to a lesser extent, the other three women - as well as a brilliant caricature of a New Age workshop leader - make this show worth calling in on.
