Florence Hartigan is ready to take us on a journey through 1999 from the view of a teenager dealing with high school problems as well as her family’s preparations for the infamous end of the world Y2K debacle. Me, My Mother and Suzy Cato is created and performed by Hartigan and produced by Charlotte Minards-Black, with Lila Black (no relation to Charlotte) on tech – which is very impressive at times.

The first thing I notice when I get into The Dome theatre at BATS is an OHP – yes you read that right, an overhead projector, a thing of school memories and times long gone (okay maybe not LONG gone) – is one of the few props on stage. It really helps set the scene of the year the show is taking place in.

Classic 90s hits are also setting the vibe as boy band The Backstreet Boys’ ‘’I Want It That Way’ and girl group B*Witched’s ‘C’est La Vie’ play loudly as the audience waits. As I bop along to these classics the nostalgia is already kicking in.

The show opens with the lights off and Hartigan setting the scene by inviting us to imagine this …

We are treated to Hartigan portraying Suzy Cato and singing her iconic show intro, “It’s our time, Kia ora, talofa.” It shows how iconic Cato is when, after at least 20 years, I still know every word and am singing along with a good portion of the audience.

Next it is Hartigan as the main character, 17 year old Rachel who is writing a letter to her idol and hopefully future mentor Cato, in what is more of a very personal diary entry than a normal fan letter. This is executed perfectly by Hartigan, who paces around the stage and sits or lies in many different positions on her ottoman, much like a teenager venting to friends.

The most impressive part of this show for me is when Hartigan is acting as both Mum, who is doing an Ab-lates workout in front of TV, and daughter Rachel, who is trying to talk to her. The workout is pretty darn good and Hartigan doesn’t even seem to tire while playing both roles!

We are treated to more Cato and Hartigan is truly nailing the tone, songs, and vibe. It is clear she is definitely a fan of Cato’s work.

There are times when the ranting in the letter is going quite fast and changing subjects rapidly, but that just adds to the anxious teenager dumping everything on her brain in a letter to her idol.

The many throwbacks that transport us back to the 90s include references to styles, bands, and obviously the impending millennium and Y2K madness. As we relive the dramas of teen Rachel, we are also entwined into the drama of her parents and friends. I count at least 7 characters (8 if you include the Ab-lates instructor) and as she starts to use characters more frequently, to track their storylines, Hartigan flawlessly slips from one to another – and the audience loves it.

This show has all the feels – teen angst, fears, love, tears, anxiety – and the audience is definitely onboard with them. There are awws, omg’s, guffaws and laughter galore. I even tear up at one point. There is a beauty in the fact that some stories have us wondering if those insane things actually true – and maybe never knowing the answer.

The storyline is well rounded and helps us understand some of Rachel’s decisions. There are some very powerful moments amongst all the humour which is evenly balanced and never makes you feel like it’s getting too dark or depressing. At times Hartigan is very raw and emotional, and her ability to sing a song whilst fake crying is bloody impressive!

After the show a friend says to me, “I feel like this show was made for you,” because I was laughing at all the references, relatable moments and nostalgia. There are some moments that gave me chills and almost made me cry, however; I don’t know if others felt the same way or if it’s just me being emotional over a mother daughter relationship when my mother has passed away. Either way, Me, My Mother and Suzy Cato makes us feel things, even if it is just overwhelming nostalgia for our childhoods.

I think millennials will definitely relate to this show but with the way Hartigan expertly delivers the storyline, anyone will be able to enjoy this masterpiece.

There is definitely a missed opportunity to end it with the classic Cato goodbye song, so I will do it instead: “See ya, see ya later …”

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