Weather Girl Review: Dark Comedy Predicts a Burning Planet’s Grim Future

Scorchio! The Fast Show’s persistently sunny forecasts, delivered by Caroline Aherne, pale in comparison to the fiery reports by Julia McDermott as Stacey, a California weather girl on the verge of a meltdown. Stacey’s weather bulletins devolve into apocalyptic, scorched-earth rants. Her monologues, written by Brian Watkins, rage against reckless consumerism and environmental ignorance, creating a darkly satirical narrative.

The show, directed by Tyne Rafaeli for Francesca Moody Productions, is a swiftly-paced performance. McDermott brings a captivating energy, insisting, “I am your rise and shine.” Her perky voice, rosy cheeks, and hot pink skirt struggle to mask a numbing nihilistic despair. Filming a segment on a wildfire, Stacey poses for the cameras but admits, “I can’t hold this smile much longer,” signaling not just her personal breakdown, but the planet’s.

This emotional weather report touches on Stacey’s encounters with her TV colleagues, a tech entrepreneur, and her estranged mother. However, the mother-daughter relationship lacks the depth it requires, hinting that Watkins, also the creator of the sci-fi western series Outer Range, could benefit from a larger scope. Weather Girl, at times, feels like a series of sketches in character-comedy mode. Stacey’s routines, like sipping cheap prosecco from a travel mug, are less compelling than the play’s unsettling atmosphere.

Watkins paints a vivid picture of a world in crisis. He writes about 4am smelling of evil, California’s “devil’s breath,” and landscapes transformed into strip malls selling plastic goods destined to outlive humanity. Stacey’s continuous sense of disconnect is poignantly portrayed, and the deft lighting design fluctuates between cheery TV brightness and nihilistic darkness. A parallel is drawn between the ancient practice of water divining and the need to find inner purity to address the climate emergency. Although this metaphor isn’t fully developed, McDermott’s performance is undeniably powerful.

Drawing comparisons to Howard Beale’s iconic outburst in Network, Stacey sees the rising temperatures and refuses to stay silent. The play poses the critical question: will we join her in this outcry?

Source: The Guardian