Alia Marshall
Monument written by Emily Sheehan explores the relationship between a world leader and her makeup artist. It’s a simple fact that women in power are held to a higher standard when it comes to how they present themselves, while the men they work with just have to shave and slap on a tie. I’m someone who has adored makeup from a very young age (thank you 14 year old emo phase), and is perhaps a little bit too invested in politics, so I feel pretty excited as I enter Circa Two to watch a show centering on both subjects.
Having just spent the last hour talking about makeup and painting our faces together, my friend and I take our seats and we’re immediately struck by how cozy the set looks. Set designer Ian Harman has transformed Circa Two into a five star hotel room - at least I assume it’s five star, I have never stepped foot in one. Before the show even starts we can see the thought that has gone into the lighting design (Tayla Pilcher) from the gorgeous patterns cast on the floor by the delicate chandeliers hanging from the ceiling. Despite the whole show taking place in this hotel room, Pilcher uses every opportunity to use lighting to help tell the story - I especially love the natural lighting effect created each time the curtains are opened.
The show follows Edith Aldridge (Mel Dodge), a member of the upper class and the youngest woman to be elected leader in her country, as she gets her make-up done by Rosie (Tara Canton), a Gen Z working-class makeup artist working at David Jones. Dodge and Canton are fabulous performers. I love Canton’s blasé attitude as she snoops around the fancy hotel room (girl, I would too), and Dodge’s reaction to this stranger in her room is wonderfully pearl-clutchy. The relationship does not start off well, but they attempt to bridge this gap as they’re forced into very close proximity. Canton is often up in Dodge’s business while she applies her make up and does her hair, so it’s a relief that the actors have a lovely chemistry with one another. Dodge captures Edith’s harsh and high powered nature beautifully, which contrasts nicely with Canton’s warm and relaxed demeanour.
There are attempts made to critique class disparity in Aotearoa, and some of these critiques are effective, but they are few and far between amongst the white feminist talking points. These two women from opposing classes attempt to come together, but to me it falls flat. Edith’s struggle to truly open up throughout the play makes her change of heart at the end feel insincere. While she does soften at times to reveal some of her history, it feels like too little too late. I also find it difficult to empathise with a character who admits that her family just spent 60 thousand dollars on alcohol for a funeral. It’s clear that Edith is a product of her circumstances, used to behaving in a specific type of way after being raised in the upper class, but even still I find it harder to empathise with her than with Rosie.
Early on, we find out that Rosie has an issue with buy now pay later services. She never admits just how much trouble she is in, but she paints a pretty bleak picture. Her Afterpay addiction is something I have seen many people experience, and the increase of buy now pay later apps means this is something we’re only going to see more of. These predatory apps directly target the working class by convincing us that we can achieve the same lifestyle as those in the upper tiers of society if we just have the same shit. Canton accurately captures the suffocating stress that comes from money and debt, it’s almost like we can feel the metaphorical walls closing in on her.
I will say, since I’m studying class in theatre I am hyper aware of its representation, so I think that simultaneously makes me the best and worst person to review this show. I’ve seen firsthand and through my research just how much class disparity has risen in Aotearoa, and I am just desperate for more shows that call attention to it. There are some really salient points made in this show about wealth inequality, I just wish these became more of a focus in the writing. For example, at one point we find out Rosie’s mother is on the disability benefit (something Edith found out through state surveillance which is… relevant to say the least), but this point is never returned to.
In reviews this show has been described as “Succession meets Barbie”, which I would absolutely agree with. The aspects of feminism explored are, to me, somewhat entry level, but that is still deeply necessary in the social environment we live in. I heard many people around me murmuring in agreement with some of the points made about what it’s like to be a woman in 2025, especially one in power. Much like the Barbie movie, Monument explores some of the basics of feminist theory that some people are yet to be exposed to, and I think that’s still really important. Monument explores the intersections of gender and power, and the role makeup plays for women in politics. The intergenerational conversations between these two women show how much older and younger women can learn from one another, and why it’s so important that we keep having them.
Monument is on at Circa Two until Sunday 9th November.
The show follows Edith Aldridge (Mel Dodge), a member of the upper class and the youngest woman to be elected leader in her country, as she gets her make-up done by Rosie (Tara Canton), a Gen Z working-class makeup artist working at David Jones. Dodge and Canton are fabulous performers. I love Canton’s blasé attitude as she snoops around the fancy hotel room (girl, I would too), and Dodge’s reaction to this stranger in her room is wonderfully pearl-clutchy. The relationship does not start off well, but they attempt to bridge this gap as they’re forced into very close proximity. Canton is often up in Dodge’s business while she applies her make up and does her hair, so it’s a relief that the actors have a lovely chemistry with one another. Dodge captures Edith’s harsh and high powered nature beautifully, which contrasts nicely with Canton’s warm and relaxed demeanour.
There are attempts made to critique class disparity in Aotearoa, and some of these critiques are effective, but they are few and far between amongst the white feminist talking points. These two women from opposing classes attempt to come together, but to me it falls flat. Edith’s struggle to truly open up throughout the play makes her change of heart at the end feel insincere. While she does soften at times to reveal some of her history, it feels like too little too late. I also find it difficult to empathise with a character who admits that her family just spent 60 thousand dollars on alcohol for a funeral. It’s clear that Edith is a product of her circumstances, used to behaving in a specific type of way after being raised in the upper class, but even still I find it harder to empathise with her than with Rosie.
Early on, we find out that Rosie has an issue with buy now pay later services. She never admits just how much trouble she is in, but she paints a pretty bleak picture. Her Afterpay addiction is something I have seen many people experience, and the increase of buy now pay later apps means this is something we’re only going to see more of. These predatory apps directly target the working class by convincing us that we can achieve the same lifestyle as those in the upper tiers of society if we just have the same shit. Canton accurately captures the suffocating stress that comes from money and debt, it’s almost like we can feel the metaphorical walls closing in on her.
I will say, since I’m studying class in theatre I am hyper aware of its representation, so I think that simultaneously makes me the best and worst person to review this show. I’ve seen firsthand and through my research just how much class disparity has risen in Aotearoa, and I am just desperate for more shows that call attention to it. There are some really salient points made in this show about wealth inequality, I just wish these became more of a focus in the writing. For example, at one point we find out Rosie’s mother is on the disability benefit (something Edith found out through state surveillance which is… relevant to say the least), but this point is never returned to.
In reviews this show has been described as “Succession meets Barbie”, which I would absolutely agree with. The aspects of feminism explored are, to me, somewhat entry level, but that is still deeply necessary in the social environment we live in. I heard many people around me murmuring in agreement with some of the points made about what it’s like to be a woman in 2025, especially one in power. Much like the Barbie movie, Monument explores some of the basics of feminist theory that some people are yet to be exposed to, and I think that’s still really important. Monument explores the intersections of gender and power, and the role makeup plays for women in politics. The intergenerational conversations between these two women show how much older and younger women can learn from one another, and why it’s so important that we keep having them.
Monument is on at Circa Two until Sunday 9th November.