Do Not Pass Go - Citizen's Theatre Glasgow ★★★★

Women having their ideas misappropriated by their male counterparts is, unfortunately, not a novel concept. There are many social media pages dedicated to showcasing such injustices. In 2024, author Jodi Picoult published a book in which the central theme is the possibility that much of Shakespeare’s body of work was written by a woman. For decades, scientists have debated the level of contribution Mileva Einstein-Maric made to her husband Albert’s groundbreaking theories and discoveries – before he left her for his cousin. So it comes as no surprise that the true inventor of one of the world’s foremost, and most enduring, board games was a woman.

Lizzie Magie – feminist, writer, poet, actor, comedian, journalist, stenographer, engineer, economist, inventor and games designer – devised The Landlord’s Game in order to demonstrate that wealth can be distributed such that everyone can live equally and fairly. It was an exercise in economics, and a damning indictment of monopolies, landowners and their inherent retention of wealth. The game aimed to promote the economic benefits of individuals being rewarded, of workers keeping everything they earned, and it drew upon the Single-Tax Theory posited by Henry George. There were originally two sets of rules, only one of which exists in the current incarnation. Lizzie designed a version of the rules where everyone shares wealth, and also the greed-fuelled version we know today. She hoped it would serve as a lesson and cautionary tale for children as she dreamed of a fairer, kinder world. Lizzie lodged a patent for The Landlord’s Game in 1903. (It’s worth noting that at this time, women held less than one per cent of all US patents.) She self-published her game three years later…

*cue villain music*

During the Great Depression, a man (who shall remain nameless, for this is not his story) stole her idea, made some minor physical changes to the board, and the game now widely known as Monopoly was published in 1935. It made him the first millionaire “games designer” in history when he sold his idea to Parker Brothers (now Hasbro).

Lizzie’s game was intended to be educational and anti-capitalist but became the antithesis of everything she believed. Perhaps Do Not Pass Go audiences from across the country will reflect on this and raise a glass to Lizzie as they hunch over tables, hoarding cash and properties, this festive season.

And so to the play…

Do Not Pass Go was devised by Melanie Jordan and Caitlin Skinner – award-winning theatre-makers, performers and directors who run an eponymous feminist theatre company. On their website, Jordan & Skinner state “We make original performances about the things that make us angry.” Lizzie Magie’s story certainly provides plenty of fuel for the feminist fire. In their hands, Lizzie’s tale is brought to vivid life by means of physical theatre, dance and comedy. British Sign Language is embedded into the show, and some performances are captioned. In addition, one of the actors (Amy Helena) is d/Deaf. It’s incredibly heartening to see such deep and careful consideration for (and the prioritisation of) accessibility and inclusion.

The Citizens Theatre in Glasgow was recently awarded the top prize at the Great British Theatre Awards 2026, and rightly so. The beloved community-focused theatre also walked away with the Great Renovation Award, following an extensive seven-year refurbishment project. The Studio Theatre provides the perfect, intimate setting for a play which centres a phenomenally talented polymath who cared deeply about fairness. Who advocated tirelessly for the redistribution of wealth for the benefit of ordinary people and spoke openly about the women’s movement and racial equality, at a time when women were largely seen and not heard. Three actors tell Lizzie’s story and share their admiration for her. They’re demonstrably passionate and perfect conduits for female rage.

The show opens with film noir-style high drama and intrigue (featuring obligatory trench coats) quickly cutting to an anarchic soundscape as T-shirts with slogans supporting Lizzie are revealed. Fraser Lappin’s set and costume designs are fairly simple yet perfectly fit the themes of the play. The set exudes game-show chic, with a multi-hued backdrop and raised star-shaped stage. A star above the curtains serves as a projector screen and is used throughout the show to provide context for some of the sketches. Mime is used often, alongside an eclectic and diverse soundtrack, devised by Nik Paget-Tomlinson. Movement director Tess Letham certainly puts the women through their paces as they use interpretive dance to illustrate the many personal and professional facets of Lizzie Magie. The actors move in perfect harmony, delivering a performance that feels intuitive. They synchronise movements and speech beautifully. Henry George’s Single-Tax Theory is brilliantly explained using props as the actors portray The Rich, The Workers and The Tax Collector.

At various points in the proceedings, Melanie Jordan and Diane Thornton deliver impassioned monologues simultaneously whilst Amy Helena signs using BSL. This is a little confusing at first because Melanie and Diane are saying different words at the same time, and the version received depends on audience position within the theatre. They do then reiterate, speaking from the same script, which provides clarity and context.

Amy Helena is a great physical actor, especially given that she is also signing much of the time. Her chainsaw-wielding is a sight to behold. Melanie Jordan’s facial expressions are both comic and conspiratorial, really drawing the audience into the performance. She is even able to conjure a spot of rousing audience participation. Diane Thornton’s physical impressions (especially of a dog and a car) provide some much-needed comic relief. All three actors appear to really care about Lizzie’s lot, delivering spirited performances throughout. Their enthusiasm for their subject matter is palpable.

Whether you’re familiar with Lizzie Magie’s story or not, there’s lots to love about this interpretation. Jordan & Skinner describe Lizzie Magie as the “ultimate disruptor”. With this furiously full-throttle, invigorating and inspired production of Do Not Pass Go, they are honouring Lizzie’s legacy in the best possible way.