Amber arrives, bathed in the soft-focus of a vintage Molly Ringwald opening scene. Pop music blares with the synthetic optimism of a sweet sixteen, coming-of-age film.  It’s pretty and pink- but don’t be fooled. Amber believes life should be a flawless, pre-packaged rom-com, complete with a perfect  first kiss. But this pursuit of cinematic bliss blinds her to the unpredictable, more genuine thrills and truths that life stubbornly delivers. This funny, insightful, compelling, and entirely unique one-act play quickly peels back the layers of every clichéd , two dimensional romantic comedy protagonist. 

Nikita Waldron both penned and brilliantly stars as the pivotal character in this play, under the strong direction of Mehhma Malhi. Together they explore the wonderful and heartbreaking realities of becoming a woman – identity, love, and loss – framed by Amber’s constant yearning for a “third-act resolution”  always present in her beloved rom coms. If you’ve ever been a sucker for an airport scene, love triangle or grand gesture  (or rolled your eyes at them ) Amber offers a humorous deconstruction. This work operates on two levels: a hilarious skewering and a fond acknowledgment of the genre’s charms.

Amber has everything going for her. She is a smart, successful, high achiever- but she’s also a hot mess. Her touchstones are “Sex and the City” and an obsession with Edward Cullen. These pop culture icons aren’t just random; they shape how Amber thinks, feels, and talks about her experiences. Romantic love is her ultimate illusion and delusion. This is the stumble block every grown woman recognises with wry amusement and an urge to shake her younger self, knowing full well most life lessons demand the long way ’round. Yet, it’s Amber’s relatability that also allows us to fondly remember who we were, and that glorious, heart-fluttering chaos of a good crush.

Amber’s real-life suitors, along with Luca – her best friend, tragedy and unrequited love – are played by three actors – Harry Stacey, Ashan Kumar, and Kurt Ramjan. They masterfully navigate the difficult feat of making each suitor believable yet distinct, as well as individually capturing Luca’s persona. This simple yet effective casting beautifully depicts Amber’s attraction to his different, and idealised, qualities. In their pursuit and impact on Amber, these men reveal themselves to be mostly well-rounded and genuinely worthy. This offers a welcome departure from the often misogynistic or toxic portrayals of relationships prevalent in ’80s and ’90s cinema. It’s clear – Amber’s battle comes from within.

However, Amber’s musings are more than just a direct address or fly on the wall disclosure. At the heart  of this story lies a candid and authentic exploration of how spirituality and religion can equally guide and conflict with our societal, family, and self-expectations. Amber’s faith is as much a part of her as the inevitable meet-cute is to the start of every good ‘chick flick’. This aspect strongly evokes the nostalgia of Judy Blume’s timeless “Are You There God? It’s Me, Margaret,” extending  a contemporary and illuminating lens on enduring questions.

Compared to Amber’s romantic-comedy-fueled naiveté, many women in their 20s today often navigate relationships with a greater sense of self-awareness and a more realistic, pragmatic, perspective. Cultural shifts and media diversity result in a more grounded approach to relationships for young women. It is interesting to see this evolution highlighted. However, this deceptively simple but layered script, along with Waldron’s dynamic and versatile performance allows the audience to reminisce and deeply connect with Amber’s vulnerabilities and aspirations. Amber’s gradual awakening also reveals the universal desire for real love, a desire rooted in the fundamental human need for connection and romantic fulfilment that spans generations.