Holly Gifford: Big Little Sister at Soho Theatre Review
Written by Eloise for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Content warnings: Strong Language, Loud Noises, Food/Drinks consumed by performers, Food/Drinks given to audience members
A 60-minute autobiographical memory play following Holly Gifford, a glass child, meaning a child who’s sibling is disabled. Labelled thus to suggest they are transparent in respect to their disabled sibling, who takes up the majority of the attention of those around them. Big Little Sister is a unique and unflinching look into a life with a disabled sibling – not designed to be an inspirational story, but a real one. We follow Holly through her fondest moments with Patrick, her older brother, as well as shocking anecdotes of ablism and a failing system designed to help families like Holly’s.
Transferring for one night at The Soho Theatre’s Soho Rising Festival 2026, from her 2025 Edinburgh Fringe run, Big Little Sister, is very much a fringe show. I felt transported back to the typical studio set up in Edinburgh - with a projector, a singular chair, and a glass of water full of lemons. Holly begins the show in the audience – ready to take the house lights up and down to throw the audience in and out of the “theatrical” story and “in the moment” commentary. In true memory play form, Holly explains that these stories are filtered through her recollection - and that is what makes her story so unique and captivating - nobody else can tell it. The use of Patrick’s ‘voice’ (written by Gifford and made clear “he would never say this”) allows the one-woman play to expand into moments of conversation between Holly and ‘Patrick’ – voiced in the style of his communication aid. It allows for frank moments of honesty with herself at how she truly feels about growing up a glass child, and how it has impacted her – specifically in how, and why, she has now made a show about her experiences.
Perhaps due to the Edinburgh run, the show did feel over-rehearsed. Meta moments are jumping in and out of the action, where Holly will interact with the sound and lighting operator or audience - but rather than having the spontaneous effect they we’re aiming for, it came across over rehearsed and over acted. Artists take a bold risk when playing themselves in a piece, and Holly from four minutes old, to her current 26-year-old self, seemed to go through many phases - some coming across more authentic than others. Gifford is a fantastic character actor - and I loved the terrifyingly real and grotesque depictions of the social worker, or American tourist. However, the pre-recorded video projection where Gifford plays both her mother and father didn’t work for me. This came across gimmicky and relied on tech - which didn’t always run smoothly. Gifford is wonderfully talented with character – so I would have loved to see her become her mother and father on stage, like the rest of the characters, rather than relying on projections, which were not of the best quality and felt disconnected from the overall aesthetic of the play.
The story itself is unique and deserves its spot on stage. One of the most captivating moments for me was the unrehearsed, randomised Q&A, where Holly played pre-recorded questions and answered them on stage. Not knowing which question was coming at each show means this aspect of the performance is different every time. Here I felt I truly saw Holly - her passion, activism and support for her brother most alive in these moments where she was unrehearsed. I definitely took a lot away from the show, but more so when Holly was unfiltered, such as this Q&A, or in the video interview with her brother – which was a great use of the projector.
Though the pacing could be tidied up, and the play needs a bit of a refresh to feel spontaneous and new again – Big Little Sister is a love letter to Holly’s family. But also, an admission to herself on how she must maintain her own life and identity separate to the family she loves so much. This universal truth allows everyone in the audience to connect with Holly on a base level and then is expanded by Gifford’s experience as a young carer. As an audience member, you come away changed by hearing such a unique perspective that carries so much love and so much pain bundled together.
Big Little Sister played for one night only, on the 5th February at The Soho Theatre as part of their Soho Rising Festival 2026.
★★★
