Set in a trio of bathroom stalls in a Shoreditch nightclub, FLUSH explores the universal experience of women and female presenting people, from gossipy exchanges to heartfelt moments. Partnered with UK non-profit “Ask For Angela”, April Hope Miller’s debut play is both comedic and compelling, highlighting the light and dark sides of everyday connections.
Photo credit: Jake Bush
If you have ever frequented the women’s toilets on a night out, you will know that fast friendships and unexpected connections can happen at any time. From helping a stranger sort their clothing out to supporting a tear-stained, worse-for-wear new acquaintance, this is a mystical space where sisterhood exists. FLUSH takes this concept and runs with it – often with hilarious results – underscored with a sense of solidarity and shared experience.
There are 14 distinct characters in this piece, played with skill by the five-strong cast. Ayesha Griffiths, Miya Ocego, Joanna Strafford and April Hope Miller all play multiple roles, while Jazz Jenkins’ single, central character provides an anchor and throughline to the narrative. Deftly directed by Merle Wheldon, and with superb music from Aaron Miller and Rob Wheatley, some of the quick changes make the head spin, and you would swear there were more actors in this piece.
Miller’s script is witty and layered, centred on the journey of Jenkins’ Billie, who has moved to the UK from the US for a new job, and is feeling like an outsider on a staff night out. She is surrounded by a whirlwind of characters, from teenagers who have managed to gain entry to a bawdy hen do, disasterous daters and recreational drug-takers. Queer narratives are seamlessly woven into the fabric of the piece, always feeling part of the whole.
All of the actors are excellent, but Miller particularly stands out: downright hilarious as a drunken maid of honour, while achingly authentic in the later, emotional scenes. Jenkins is compelling as Bille, giving a soulful and moving performance that cuts through. Ocego, Strafford and Griffiths are versatile in their numerous roles, bringing out both the comedy and nuance.
Given the premise of the play, FLUSH could have been a fairly formulaic piece that simply found a setting to place its characters in. Miller has adroitly avoided this, instead playing with that preconception and using it to create a meaningful narrative that forges a genuine, sincere bond between her characters, and also with the audience. If a spoonful of sugar helps the medicine go down, FLUSH uses its very funny scenes to build trust and rapport, allowing it to examine less palatable subjects, including consent, self-image and sexual assault.
By Deborah Klayman
FLUSH plays at Pleasance Courtyard, Edinburgh until 25th August 2025.
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