Iphigenia In Splott is a thoroughly compelling one-woman performance. Effie’s story is vividly detailed, and what could have felt long-winded instead becomes utterly gripping.

Effie is rough, tough, and unapologetically outspoken. She’s an in-your-face fighter who, rather than smiling, snarls, “no man resists me.” She directly confronts the audience, shakes her arse at a man seated in the front row, and taunts: “you lot waiting for me to entertain you? Well, you’re in my debt, and I’ve come to collect.” She’s the kind of woman many judge, avoid and look down on — spending her days getting wasted and hurling abuse at passersby. But it quickly becomes clear that Effie’s endless cycle of hangovers is her way of escaping a bleak reality.

Performer Meg Clarke doesn’t hold back. She is blunt to the point of rudeness, raw, and honest, presenting a fully developed, multifaceted character. While Effie might not be someone the audience immediately relates to, the unfiltered vulnerability she reveals — especially when she shares her unwavering hope for love, only to be let down — is universally resonant. By this stage, the audience has started to warm to this brash, hard-nosed character. So when the man she believes will change her life doesn’t contact her, a collective sigh of disappointment ripples through the room.

As Effie recounts, step-by-step, her obsessive actions when she doesn’t receive that life-altering text, it’s both cringeworthy and enthralling.

Written by Gary Owen, the monologue is delivered in an engaging, conversational style, with Lucy Clements’ direction maintaining a sharp, dynamic pace that amplifies the drama.

The music, composed and designed by Chrysoulla Markoulli, perfectly matches the shifts in Effie’s journey — from the pulsing intensity of the club scene to the ethereal moment when she dares to hope for love.

The stark, minimal set by Angela Doherty reflects Effie’s harsh reality—a world where the hospital is overcrowded, the local swimming pool has shut down, and even the library is no more. Every essential service that once supported the community has been cut. Splott is a town gripped by austerity and neglect, a place where the socially marginalised are left to fend for themselves.

Set in Splott, Cardiff — once home to playwright Owen and now one of the most deprived areas in Wales — the play draws loose inspiration from the Iphigenia myth, a tragic Greek tale of female sacrifice. But Effie isn’t a character who seeks pity. She’s smart, sassy, and furious at a society that has repeatedly failed her – yet she refuses to be defeated. She fights tooth and nail against her circumstances.

Clarke’s performance is nothing short of astonishing — powerful, raw, and utterly captivating. She commands the audience’s attention for the entire 90-minute duration, transforming a character who at first seems repellent into someone you root for, empathise with, and ultimately hope against hope will find a way out.

Iphigenia In Splott is an confronting, emotionally charged rollercoaster that will have audiences laughing, commiserating, and deeply moved.

4.5 stars.

At times, this show is difficult to listen to. The descriptions of violence were challenging for me, and others may find the themes of neonatal loss particularly distressing. The show comes with a content warning and throughout the season audiences are encouraged to make tax-deductible donations to Bears of Hope Pregnancy & Infant Loss Support – who provide leading support and exceptional care for families who experience the loss of their baby.

Presented by New Ghosts Theatre Company Iphigenia In Splott is playing at the Old Fitz Theatre, until 22 March 2025.

For tickets visit Old Fitz Theatre