Review: I Made You A Mixtape (The Cockpit)

Review by Ruth Sealey

⭐️⭐️⭐️⭐️

I was at university in the late 90s, and the music of that era became something of the soundtrack to my life and a period I look back on fondly. So, when I heard about I Made You A Mixtape at the Cockpit Theatre, I was intrigued to see how this production would interpret the music of the time and weave together the stories of a group of women and their experiences. Would revisiting the soundtrack of my youth prove an act of joyful nostalgia, or remind me that some memories are best left in the past?

Response Theatre Company has created something truly unique here, with a concept in which no two performances will ever be the same. It draws on the work of Sanford Meisner, where actors respond intuitively to each other and external stimuli in the moment, rather than relying solely on prior analysis of character and role. The idea itself sounds complex, and that complexity only deepens when it brings nine women together in a college dorm, on their final night together before going their separate ways, each carrying her own story to tell and set against a fantastic 90s soundtrack.

The production starts with cue cards telling the audience that this is not a play and, “Defo not a musical.” So, what is it? Under the direction and choreography of Christie Lee Manning, it becomes something that feels fresh and exciting, bridging a gap between improvisation, dance, and traditional theatre. The women’s stories are told through whole-cast, solo, and group pieces, and Manning has instilled in the performers such energy and connection that it is compelling to watch.

The choreographed routines are extremely slick, and the Meisner elements of the production are endlessly entertaining. Often, it is the cast’s facial expressions that prove most revealing: delight, shock, and at times, the struggle to suppress laughter. It feels less like watching a performance and more like peering through a window into the lives of a genuine group of friends.

I think this is what drew me in as the show progressed. In real life, we can’t plan how we will respond to a situation, nor how those around us will react. As the words “After tonight” reveal what would befall their character - marriage, moving away, rehab, and other life-changing events - every performer is given a moment to shine, interpreting their character’s response in their own way. On any given night, the cast do not know what will happen to their character and, although they may have watched someone else interpret the same outcome in previous performances, in the moment, they must decide how they themselves will respond. At times, however, some physical responses feel a little repetitive, with several characters, for example, throwing playing cards over the course of the show to show the emotion they felt.

The performers are fascinating to watch: all so different but entirely believable as a group of friends. One standout for me was Clair Gleave, whose character is due to get married the following day. She goes absolutely wild, as though this is genuinely her last night of freedom, and it is a joy to watch her throw herself into the role and interact with the rest of the cast, also combined with stunning movement choices.

The characters do not always experience moments of joy, however, and Tatiana Ivanova’s character is ‘checking into rehab,’ a development she portrays beautifully. Clair Gleave’s instinctive response to Ivanova’s interpretation creates a touching moment of stillness amid the chaos, demonstrating the power of this production’s approach. Abbey Devoy, Alexa Stevens, Amy Punter, Jennifer Kehoe, Katrina Lopes, Maggie Trepanier, and Lauren O’Sullivan complete the talented group that captures the highs and lows of the end of college.

Some audience interaction adds a little more chaos to the evening, with one audience member finding himself in the middle of the dorm party for ‘Pretty Fly (For a White Guy)’ and glow sticks create a kind of Mexican wave. It feels like a performance where not only the audience, but also the cast, are not really sure what will happen next, and that, in a world that often feels predictable, brings a thrill to this kind of theatre.

The stage itself is a throwback, with ‘90s board games, beer pong, a classic camcorder, and music posters pinned at jaunty angles. This attention to detail is a reminder that, for all its spontaneity, this production has been carefully crafted. Beneath the chaos lies a clear sense of choice and design that supports the nostalgia and aesthetic.

The music creates a party atmosphere and largely functions as a soundtrack. Music from Alanis Morrissette, Green Day, Blink-182, and others plays in what feels like chapters. With live drums and electric guitar on stage courtesy of Tom Kirkpatrick and Oliver Davies, the production takes on the feel of both a gig and a band rehearsal, adding to the sense that what we are witnessing is immediate and unpredictable. The performers talk to each other, but, much like guests at a real party, their voices become muffled; we are not meant to eavesdrop on their conversations, but rather watch and interpret their interactions. At times, however, the sound level feels overwhelming, and an adjustment to the sound level might have reduced some of the feedback.

I Made You A Mixtape is innovative, daring, and compelling. With its attention to detail and an excellent soundtrack, it is firmly grounded in the 90s. Mixing a heartfelt and joyous exploration of girlhood, friendship, and a rite of passage into adulthood, it balances slick execution with chaotic unpredictability and stunning choreography. If you experienced the 90s, go back and relive them if you get the chance. If you didn’t, this might show you exactly what you missed out on.

I Made You A Mixtape played at The Cockpit Theatre until 14th June and then moves to Edinburgh Festival this summer.

For more information and tickets to the Edinburgh run visit https://www.edfringe.com/tickets/whats-on/i-made-you-a-mixtape

Photos by Sue Lafferty Howard