Invasive Species
Creating a story is one thing but living it is very much another. Invasive Species, written and performed by Maia Novi is about the scramble to the silver screen, even if it means lying through your teeth to get there. Maia (named after the writer/performer because this is her story after all) tells us the story of a drama student from Argentina now at Yale University. She has her final showcase coming up and between bad dates, not sleeping, trying to fit in and wondering just how far away is her dream. Maia is not sleeping, and while trying to ask for some sleep medication, she finds herself at a youth psychiatric ward at twenty-five.
Invasive Species was first performed Off-Broadway in New York City at The Tank in June 2023 then later at The Vineyard Theatre in the Summer of 2024. Directed by Pulitzer Prize finalist Michael Breslin this production has now landed in London. Performed and written by Novi supported by an ensemble of equally talented and shapeshifting performers: Kalifa Taylor, Harrison Osterfield, Max Percy, and Ella Blackburn.
If this sounds like an incredibly intensive story, it can be. But it is refreshing to know that Maia’s writing and performance plays with the audience. Even if the meta-narrative sometimes gets a bit too clever for its own good, it’s fun all the same.
Novi knows this and loves the fact she is being watched and just when you feel yourself settle. Bam! The literal acting bug arrives. That’s just within the first ten minutes. The pop culture weaved in throughout was perhaps one of my favourite aspects and felt effortless even though I did question how much it was taking us away from the main story and the core of Maia and her story. This is all about how you can achieve the American Dream when they tell you they want your authenticity and then tell you how to change everything.
This is a razor-sharp production. Maia is both our guide, and we witness her experience while in the mental youth ward. The set and lighting design was both atmospheric and almost a character in itself. UK Set & Costume Designer, Damien Stanton and UK Associate Lighting Designer, Ben Jacobs have both done well to help guide the audience as we try to understand and unravel the various locations with stark lighting, microphones, those red chairs that everyone knows from primary school and an uneasy almost latex backdrop.
As a performer, Maia is efficient, humble and within the same moment larger than life. There is an honesty and humility to her while also being completely aware that this is her show, and we will follow wherever she goes. She is a powerful actor throughout, and we love her almost instantly. We root for her and equally, question if what she is telling is the entire truth or just her truth. We watch her become Eva Perón, a particularly resonant image in London after a summer where Evita was the hot ticket and closes in the same opening weekend of Invasive Species. It seems like a fantastic time to see Don’t Cry for Me Argentina put into a new context by a strong and beautiful singing voice by Maia. She can walk the walk and write a damn good play about it too.
This was only punched up by smart and clever direction by Breslin who had the audience wondering what would happen next and how. Even in the moments of pacing where things might have felt a touch too long, especially in the third act. We knew that something original and fantastic would be coming. The troupe of performers helping tell Maia’s story Taylor, Osterfield, Percy and Blackburn also deserve all their flowers. This story would not be nearly as fantastical without them because in a way, their performances are the story. If Maia is the sea captain, they are the ship, waves, crewmates and the weather forecast. These actors became everything from other patients in the ward, doctors, talent agents, casting directors, French clowns, bad dates, and somehow the internal monologue of Maia herself. The changes were impressive throughout and a testament to how hard-working and talented each one of these actors act. In particular, Kalifa Taylor’s performance as the leader of the pack within the youth ward and Harrison Osterfield as the acting bug were highlights.
Indeed, this is a piece that never takes itself too seriously, unless it is being serious. A piece about the sting of the acting bug and the reality of failing mental health. How can we support art if no one is there to support us when trying to make it? It explores moments when diversity still feels like a tick-box exercise and when told your natural accent is seen as interesting but not marketable. When western media says one thing but shows another. Despite some minor fluctuations in pace, the show remains a biting and inventive piece of theatre that will make you laugh, gasp, and most importantly, think. Want to know exactly what I mean? Come see Invasive Species for yourself.
This show was reviewed on the 5th September 2025 at the King's Head Theatre, London where it runs until the 3rd October 2025. Tickets available here: Invasive Species — By Maia Novi | King's Head Theatre
Review written by Mary Condon O'Connor
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Photo credit: Danny Kaan
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