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Venue:The Counting House, 38 West Nicolson Street Edinburgh EH8 9DD
Phone: 0131 667 7533
Links: Click Here for venue details, Click here for map
Ticket Prices: Free  
Room: The Loft
AUG 2-10, 12-19 at 11:10 (50 min)
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Kathryn Pool is a Liturgical dance sensation in Yorkshire. Her YouTube videos have over a hundred views and all the under-25s in the liturgical dance community know her name. She is a shoe-in the for Elite Angels, the top tier of the Good Women organization, a redemptive liturgical dance group for wayward women. Her arrival at auditions causes many of the participants to repent for their impure thoughts. However, when Kathryn reacts poorly to not making the Elite Angels, the Sisters offer her a chance at redemption on the backs of Madeline and Morgan, two new and not obviously talented recruits from America and Canada respectively. The girls struggle to find creative harmony together and when all hope seems lost for their liturgical dreams they are saved by two unlikely forces: mainstream pop music and dated women’s magazines. With a new and surprising faith the girls show the Good Women organization that while good girls go to heaven, it’s a pricey-ass ticket to get there.

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August 18, 2018  Fest
There’s so much serious theatre at the Fringe that it’s a blessed relief when you find yourself in a show whose sole intent is to make you laugh. Get By Theatre have brought Good Women to the Free Festival on a shoestring, but the fact that they’re performing in a teeny tiny attic space at The Counting House without a tech doesn’t take away from the fun of it.

The premise is ludicrous: Kathryn, Madeline and Morgan are members of the Good Women Evangelical Congregation, an organisation that uses the power of “liturgical dance” to encourage sinful characters to change their ways. They’ve each come to compete at an international competition but things just don’t go to plan.

Recent LAMDA graduates (and founders of Get By Theatre) Emma Rendell, Eva Scott and Emily Steck, play this trio of deviants with energy and charm, if not with quite the nuance required to make these characters more than just silly caricatures. Steck’s script is witty enough that the company get away with it, and the dance sequences—including one in which Scott names her Christianity-inspired moves as she goes along—offer plenty of laughs too.

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