Rowling In It at King’s Head Theatre Review
Written by Bronagh for Theatre and Tonic
Disclaimer: Tickets were gifted in return for an honest review. All views are our own
Content warnings – strong language, references to transphobic, references to drug taking, references to miscarriage.
Art is political. It always has been and always will be. Kings Head Theatre has been home to many a political drama, and now home to Rowling In It, a production with political ideology weaved throughout. Written and performed by Laura Kay Bailey, this sixty minute one woman shows explores follows Bailey’s controversial casting and performance as ‘She Who Shall Not Be Named’ in an Edinburgh Fringe play.
Performed at the 2024 Fringe ‘TERF’, the aforementioned production, was met with controversy and conversation. I had never heard of TERF, however, a quick Google tells me this was ‘clunky’, ‘controversial’ and doing ‘things not totally as intended’. So a bit of a mixed bag, but undoubtedly one that caused ripples. On the flip side Rowling In It is a clear and cohesive production, combining some delightfully wicked humour with the more poignant moments relating to the backlash Bailey got for taking this role.
J.K. Rowling’s views are not up for debate here, and while they inevitably hover over the piece, they are not its focus. After all, the show wouldn’t exist without the discourse surrounding Rowling’s public statements and online presence. Instead of directly critiquing her, we follow Bailey’s personal journey: accepting a role that feels like a professional step backwards, navigating solo parenting, and growing increasingly conflicted about her involvement in TERF. More intimate moments - touching on her father’s time in Vietnam and memories of her grandmother - are handled with care and sincerity, adding depth without derailing the central narrative.
Bailey shows herself to be a versatile and very talented performer as she morphs between characters. Pervy Hagrid to dithering Snape to posh Hermione, she nails the mix up in accents and personalities. The comedic streak and momentum lasts throughout, with Bailey keeping up with the fast pace and high energy. Bailey comes into her own towards the end of the show, where her frustrations come to a head.
The staging is minimal, with just a sofa which Bailey occasionally retreats to. The back wall of the theatre space is utilised for projections, mainly of a humorous group chat between the actors. I do feel like this could have been used more perhaps, how stark and basic the set was. Lighting was used throughout too, a particular favourite when Bailey must move around the stage according to the spotlight. We later learn that the lighting director may have been drunk – well, when in Edinburgh.
Overall, this is an impressive and engaging production, anchored by a standout performance from Bailey. She doesn’t shy away from the controversy surrounding TERF, instead using it as a lens to explore accountability, perspective, and personal growth. The political undertones are ever present but never heavy handed. The audience is invited to reflect rather than forced to take a stance. I could easily have watched Bailey for much longer
.Rowling In It at Kings Head Theatre until 18th April 2026.
★★★★
