Review: ‘The Miraculous V: The Bizarre Awakening of a Virgin Witch’ at Stephanie Feury Studio Theatre
- Dondre Tuck
- 17 hours ago
- 3 min read
Shara Kirby’s “The Miraculous V: The Bizarre Awakening of a Virgin Witch,” directed by Kaylie Flowers and part of the “30-Minutes or Less Festival” at the Stephanie Feury Studio Theatre, is a one-woman show that’s funny, honest and way more layered than the title suggests.
The short play follows V (Kirby), a Black, plus-sized, quirky virgin who wakes up on her 30th birthday and realizes she’s a witch. As she tries to understand what that means, she also sets out on a very human mission: to finally lose her virginity. The story plays like a wild birthday adventure on the surface, but underneath it’s really about childhood trauma, self-acceptance and the deep need to feel loved and chosen.
Kirby’s performance is grounded and lighthearted, which is exactly what this piece needs. Her comedic timing is a real strength, and she knows how to use laughs to keep the room open, then drop into the more sobering moments without forcing it. That balance is not easy, and she handles it like a skilled pilot. Her character reenactments are consistently funny, and one of the biggest highlights is her reenactment of a homeless man pleasuring himself. It’s unexpected, it’s bold, and it lands because Kirby fully commits and controls the moment instead of winking at it.
Flowers’ direction keeps the production simple but fluid. The story moves efficiently, the staging stays clean, and it’s set up in a way that lets Kirby shine, which keeps the audience locked in. My only note is about the director(s) sitting in the audience signaling to the technician during the show. It was distracting, and it took me out of the world of the show a few times. Outside of that, the choices are solid, especially the way lighting is used to emphasize V’s newly discovered powers and punctuate key shifts in the story.
Costume design matches the space and the tone. Kirby wears a pink dress covered in strawberries, which subtly reinforces V’s innocence and supports the core of the story. Set design is simple, with a couch, a table, red Solo cups and a shot glass. Sound is also minimal, but the sound effects that do show up are on point and help reestablish the story’s mysticism when it matters. Lighting stands out on the technical side — cues are clean, purposeful and used to drive the storytelling forward.
It’s hard to ignore themes of childhood trauma from V’s abandonment by her father coupled with a hint of sexual abuse throughout “The Miraculous V.” Kirby does an amazing job combining her comical prowess with material this heavy, which makes what’s happening beneath the surface feel more digestible instead of overwhelming. It becomes apparent that V was never loved or fully seen by her father, which over time makes her subconsciously crave any form of love and validation, from friends and strangers alike.
While she’s chasing that external love, she keeps ignoring her phone calls from her mother, who is clearly the one person who loves her unconditionally. This production gives a strong picture of what navigating trauma and a lack of self-love can look like in adulthood.
The audience stayed engaged during a recent performance, and reactions tracked with the storytelling the whole way through. Even with the tech distractions, this production kept me thinking on the drive home. Honestly, it’s a must-see, and I absolutely recommend it. In fact, it would be a perfect show for Halloween season come fall.
Shara Kirby’s “The Miraculous V: The Bizarre Awakening of a Virgin Witch” performed on Sunday, Jan. 25 as part of the “30-Minutes or Less Festival” at Stephanie Feury Studio Theatre, 5636 Melrose Ave., Los Angeles. For more information, visit SFSTheatre.com or SharaNKirby.com.