LIVEARTSHOW’s Marsha is that rare thing: questionable in theory, mostly wonderful in execution.

In any case, it boasts a star-making turn for Tilly Gaunt. As the titular Marsha and the evening’s narrator, she’s evocative of days long gone in her skewed socks and conservative schoolgirl outfit. It’s in her ability to convey the practised, double-edged, delusional vulnerability of Marsha that she’s most impressive, however; simple facts, and the recounting of the unseen scenery that surrounds her, turn twisty in her mouth.

Of particular additional note is Will Holt’s set design. He’s papered the walls of the theatre with yet more smiling Marshas — a touch that would be goofy, if it weren’t so committed. Gaunt herself is responsible for unfolding the fake grass that Marsha turns into her version of a world. Apart from that, cartoonish projections display the scenes and characters Marsha encounters.

The supporting cast are less impressive. They descend upon Marsha from all angles of the room as figures who interrupt her daily work, to deliver their dialogue in the form of scale-like solos. A few issues occur here: for the most part, these solos are unnecessarily padded. The lack of musical progression in the score itself only emphasises this and while the intention to unsettle is clear, a general shifting in the seats suggests the audience wishes it would be otherwise.

A few other petty issues register as hindrances to the night’s enjoyment, as well. Take, for example, the masks. Distributed happily by the Arcola’s staff prior to the show, they initially make for an impressive spectacle — turn your head and you’ll find yourself gazing upon a sea of cartoony, smiling Marshas — but their eventual use in a twist falls too late to justify sitting with the scratchy things on for close to an hour.

It’s a twist that’s intended to have lasting impact, but this is where things get knotty. A post-show discussion with director Martin Critindale suggests that one of the key topics Marsha explores is beauty, and what we’ll forgive or expect of beautiful people — but why make the audience complicit when they may not necessarily be? Why pigeon them in with the rest of Marsha’s malicious mask-wearers, when their views and identities may not necessarily align with what’s suggested? It’s a bold comment, for sure, but it’s one that’s only surface deep.

Gaunt and co. may pull off the implications of this reveal with spectacular aplomb, but beyond this, the commentary’s sadly lacking.

Marsha: A Girl Who Does Bad Things played at the Arcola Theatre until 15 August. For more information, see the Arcola Theatre website. Photo: LIVEARTSHOW.