As someone who was not a fan of Brexit, I was obviously going to be interested when I heard about a show called ‘Miss Brexit’ that uses satire and real life events to look at the immigrant experience and the impact of Brexit on migrants. 

The play had a well received run in London last year, and returns to the capital – specifically to Omnibus Theatre – this week. It’s the work of the Maria Who? theatre company, and is helmed by co-directors Alejandro Postigo and Amaia Mugica. 

I spoke to Alejandro ahead of the upcoming run. 

CM: Can you start by telling us something about the content of the show? What story does it tell?
AP: ‘Miss Brexit’ is an extravagant satire set in post-Brexit England, where young European migrants must compete in a beauty pageant to win the right to remain in the UK.

Contestants are judged on their ability to erase their identities and assimilate into an Anglo-centric society. The show reveals the struggles of cultural assimilation and the impact of Brexit on migrants, all through an interactive and comedic format​​​.

CM: How would you describe it in terms of style and/or genre?
AP: The show blends satire, autobiography and interactive theatre.

It incorporates live music, humour and audience participation while addressing serious themes of identity and migration.

It is a fusion of political cabaret, musical theatre and devised performance​.

CM: What themes are explored through the play?
AP: The main themes include migration, identity, cultural assimilation, nationalism and the impact of Brexit on migrants. The show also critiques the Anglo-centric nature of the global performing arts industry and the erasure of diverse voices​​.

CM: It’s clearly a political piece. Does it have a message? Do you want to target a specific audience?
AP: Yes ‘Miss Brexit’ is deeply political. It challenges audiences to consider the real-life consequences of Brexit on migrants, using humour to provoke thought and conversation.

The show is for a wide audience – migrants who may see themselves in these stories, and British audiences who might not have fully considered the impact of Brexit on individuals.

CM: What was the inspiration for this piece of work? What made you want to make a show about this and what creative process did you go through to make it?
AP: The inspiration came from the personal experiences of migrant artists in the UK and the challenges we face in an Anglo-centric society.

The show was developed through a devising and improvisation process, where the cast – each with a migrant background – shared their own stories, shaping them into a theatrical narrative.

We tested the work at several European festivals before bringing it to the UK, where its themes feel most urgent.

CM: Can you tell us about your role on the show?
AP: I co-directed ‘Miss Brexit’ with Amaia Múgica in dialogue with the performers.

Our role was to shape the narrative, guide the improvisational process, and ensure the show remained both entertaining and impactful while staying true to the real experiences of migrants.

CM: And can you tell us a bit about the rest of your creative team and cast members?
AP: The cast consists of migrant performers from across Europe, including Spain, Italy, Switzerland and Portugal.

They bring deeply personal experiences to the production, making it an authentic exploration of migration. As directors, we also have migrant backgrounds, and several of our creative collaborators do as well.

Some team members are British, which has sparked important conversations during the creative process about artistic voice and cultural agency.

CM: And now, a bit more about yourself – what drew you to a career in the arts?
AP: My work as a theatre-maker has always been driven by an interest in identity and cultural exchange.

My background as a Spanish migrant in the UK has shaped my perspective and I use theatre to explore these themes in interactive ways.

My previous works, like ‘Copla: A Spanish Cabaret’, also engage with cultural identity and artistic language.

CM: What aims and ambitions do you have for the future?
AP: I aim to develop theatre that amplifies migrant voices and challenges dominant cultural narratives, so I want ‘Miss Brexit’ to continue beyond its Omnibus run.

I’m particularly interested in further exploring intercultural performance and increasing the visibility of migrant artists in the UK theatre scene.

CM: What’s coming up next for you after this?
AP: After ‘Miss Brexit’, I will continue my work with ‘Copla’ while refining ‘Miss Brexit’ for a 2025 UK tour. There’s a strong chance both shows will be at the Edinburgh Fringe this year.

As part of my academic work, I’m also developing new publications exploring migration and identity through theatre, music and satire.

‘Miss Brexit’ is on at Omnibus Theatre from 11-15 Feb. See the venue website here for more information and to book tickets. 

LINKS: omnibus-clapham.org | x.com/OmnibusTheatre