If you are a fan of the film The Matrix then there is a show that is coming to London this week that you will not want to miss. On the 14th November 1 Pill, 2 Pill, Red Pill, Blue Pill: A Matrix Parody Musical is set to take the stage at Lower Marsh Arts Club, London at 10pm.
Comedian and musician Becky Goodman reimagines the iconic 1999 sci-fi film through the eyes of Anderson Thomas, aka “Typo”, the character who was supposed to be The One. Combining musical comedy, clown, puppetry, audience participation it is a show that is completely unique. Today I caught up with Becky to find out all about it.

Hello! Tell us about yourself
Hi! I’m a musical comedian, writer, and musician from NYC currently living in London. I cut my teeth in the comedy scene on improvisational and sketch comedy and have been doing standup/musical comedy internationally for about six years now.
I’ve written, produced, and starred in three one-woman shows, two of which have been performed off-Broadway. You can find me at clubs around London or occasionally doing tour support for Nina Conti.
Tell us about the show, 1 Pill, 2 Pill, Red Pill, Blue Pill: A Matrix Parody Musical.
This show is a parody musical of The Matrix, with a twist: before there was the The One, (Neo) there was the other The One: Typo. Typo is our rejected hero, whose life is thrown into turmoil when Morpheus reveals he’s moved on to greener pastures. So, what happens when the main character finds out they’re actually a side-piece to the plot?
One woman, one puppet, six songs, and plenty of audience interaction. 1 Pill, 2 Pill has the energy of Titanique and a plot structure similar to Rosencrantz and Guildenstern Are Dead.
It’s a fast-paced, energetic, hour of idiotic fun, with a giant side-helping of humanity. Audiences can expect non-stop laughs, surprising moments of gravity among levity, and a puppet named Squiddy, who steals the show.
How are rehearsals going?
Rehearsals are going well! It’s a one-woman show, so I practice in my living room with a complicated technical setup. Good thing my housemate is a teacher and out for most of the day, because, by the end, there’s a puppet, leather trench coat, floppy discs, and a bubble gun on the floor.
Tell us about the rest of the cast.
The only other cast member is an inanimate object: a puppet named Squiddy, who, honestly, is probably my favorite character of the show. He’s a sentinel from the movie, an AI killing machine who doesn’t have a harmful bone in his metal exoskeleton. Well, technically, there are audience cast members, too…they just don’t know it until they’re on stage!
What is the most challenging thing about doing the show?
The most challenging thing is doing it all solo! It’s a LOT of energy, singing, props, tech (which I do from the stage!) and running around! Not to mention carting the whole show in a suitcase to and from the venue.
The best thing about touring the show?
I have only done the show in Edinburgh and now in London! But the most interesting thing is to see how a regular London audience reacts–at the Fringe, there is a very different, frenetic atmosphere. It’s a different challenge to perform it in London!
What have been some of the best highlights since doing the show?
Some of my favourite moments and highlights have included: someone live-drawing me during one of the performances, packed-out audiences, and making discoveries in real time for new things to add to the show. It can keep growing and getting better!
What is the best reaction you have had from an audience member?
Since there is a lot of audience interaction in the show (which the crowd is unaware of at the top!), there is plenty of opportunity for surprising fun. One of my highlights is when I got an audience member up to play a part and we danced the Macarena together.
If people want to follow you on social media, where can they find you?
They can find me at @beckygoodtimes on IG/TikTok, and they can find the show page at @matrixparodymusical!
Finally, in three words, why should people come to your show?
Free your mind (quote from the film!).




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