Review: I'll Be Back (The Glitch)

Review by Ruth Sealey

⭐️⭐️⭐️ 

Armed with grit, determination, and the mighty power of Windows 95, I’ll Be Back’s unlikely heroine begins her mission not in a high/tech lab, but her local Blockbuster Video. An off-the-wall Terminator parody transplanted into the heart of Dudley, the show’s London debut finds this unexpected saviour single-handedly responsible for saving humanity.

Performed as a one-woman, multiple character show,  Justine Malone has written a piece of theatre that threads a familiar soundtrack from the day, with a story that aims to capture the texture of the decade. It doesn’t rely on flashy gimmicks but instead, it tries to recreate the era through the details people often forget.  Where Malone’s writing is at its strongest is in those small, sharply observed moments that instantly pull you back. Some of the genuine laughter of the night came from the simple reminder of rewinding a VHS tape with your eyes closed to avoid seeing the film – an insightful look back at a decade many thought they’d left behind — glitches and all.

The Glitch offers an intimate space that directors Alex Coke and Emma Webb and assistant director Ezra Dobson have used well to take the audience on a time-travelling adventure to save the world. With minimal props and costume, this show relies on movement and voice to capture multiple characters and different times on the continuum.  In such a minimalist show, the sound design had so much potential to tie elements of the story together.  However, timings were not always on cue, with actions not matching the associated sounds and leaving some moments of uncertainty for the audience.

Malone shows versatility throughout, playing multiple characters and switching between roles as scientists, tech nerds, Blockbuster staff, stern security guard and her missing brother.  The final scene is very heartfelt, as sister and brother are reunited. However, the production occasionally struggles to distinguish these characters clearly during faster-paced dialogue, where shifts in voice alone aren’t always enough to anchor who is speaking. While Malone brings humour and warmth to each character, the story can become muddled when those transitions blur, especially in contrast to the white-coated scientists whose exaggerated mannerisms make them more easily recognisable.

The use of Clippy as the operating system behind her cybernetics is really very clever, and there’s something quietly delightful about seeing the world’s most famously unhelpful assistant finally put to good use. His voice-over, though entertaining, felt slightly underused, as if there was more potential waiting in the wings — or perhaps that restraint was intentional, a reminder of how far technology has upgraded since the days of dial-up and paperclip pop-ups. The use of Windows 95-style backdrops and pop-up windows, projected behind the action and woven into Malone’s performance, adds a visually engaging layer to the show. The way she interacts with these digital elements gives the staging a playful, retro edge and gives the show a nostalgic interface.

This is a show with plenty to enjoy, even if it doesn’t always run with machine-like precision. Malone’s writing is full of carefully observed 90s detail but some of that occasionally gets a little lost in the character transitions. Who knows whether Malone will be back, but it may be worth a visit to The Glitch to get your 90s fix. 

I'll Be Back plays at The Glitch until January 19th

For tickets and information visit https://www.tickettailor.com/events/vaultcreativearts/1855529

Photos by Simon Vail