The Edit exposes the brutal mind games of reality TV – where attitude meets manipulation and every move cuts deep.

Nina (Iolanthe) is a contestant on primetime reality dating hit, Match or Snatch a Love Island-style of show. Dressed first in a tight-fitting glitter dress and then later a purple studded string bikini, she wiggles, twerks and commands the stage with unapologetic confidence. In a strong Northern English accent, she asks, “did I come across as a tosser?” but Nina is no fool, she’s smart, astute, and determined to twist every opportunity to her advantage.

Meanwhile, her minder, Producer Jess (Matilda Ridgway) has her own motives and intends to package and reposition the truth to suit the story.

Nina may have entered the show hoping to find true love, or perhaps she’s chasing the kind of success that fame came bring. But when an incident with her match is met by Jess’ reluctance to involve the police or go public, a battle of wills and control unfolds.

If you’ve seen UnReal, this show may feel familiar, but that’s not because playwright and director Gabrielle Scawthorn (who also starred in The Half-Life of Marie Curie) has replicated the TV drama. She draws from her own experiences, merging her time as a teen contestant on the Australian music competition show Fresh Meat with extensive interviews from her hit podcast series Back from Reality, which explores the mental health impacts of reality TV.

The Edit is an intense ride that delves into body dysmorphia and sexual assault. It’s raw, gripping and unsettling. The audience audibly gasped and shouted, “you go girl!”, as the tension built. The script is razor-sharp and both performers delivered outstandingly. Ridgway, previously seen in Furious Mattress, stuns with her big wide-eyed, tortured expressions, while Iolanthe is fearless unleashing a vitriolic explosion of emotion, spit flying as she delivers each line.

In tone, it recalls werkaholics and will appeal to audiences drawn to dark satire. The language occasionally veers into Gen Z slang “cap” (lies) and “mere” (nightmare) but thankfully Jess is as clueless as some of us, and the show cleverly explains these moments in action.

With design by Ruby Jenkins and lighting by Phoebe Pilcher, The Edit moves fast — strobe lights flashing, music pounding — keeping the audience questioning, “who’s telling the truth?”

This production is explosive, packed with shocking reveals, yet its most powerful moments come in absolute stillness, when neither woman is willing to yield. It feels like a deadly game of chicken, each waiting for the other to crack.

The Edit is a psychological duel until the end. Life might sometimes feel like a game, but the world of reality television certainly is.

5 stars.

Presented by Unlikely Productions and Legit Theatre Co. The Edit is playing now at 25A Belvoir Theatre until 26 October 2025. 

For tickets visit Belvoir