Talking to Rachel Redleaf about her one-woman show, TOO MUCH OF A GOOD THING

Rachel Redleaf

 by Gil Benbrook

Rachel Redleaf has been lighting up screens and stages with her undeniable charisma and comedic brilliance. Best known for her breakout role as Beth Chapin in Netflix’s Atypical—where she stole scenes with her razor-sharp one-liners and enviable baking skills—Rachel has also portrayed the iconic Mama Cass in Quentin Tarantino’s Once Upon a Time in Hollywood, and appeared in hit series and films like Why Women Kill and Kajillionaire. 

Redleaf graduated from Chapman University with a BFA in Screen Acting and a Minor in Business and is a Scottsdale, Arizona native who caught the theater bug at just four years old. Rachel’s early days in community musical theater laid the foundation for a dynamic career that continues to soar.

Most recently, she’s taken her talents to the stage in her critically acclaimed one-woman show, Too Much of a Good Thing, performing to sold-out crowds at the NYC Fringe, Edinburgh Fringe, and even on the Playbill Cruise’s Fringe Ship. 

Blending outrageous humor with deeply personal storytelling, Rachel’s show explores body image, identity, and self-love with fearless honesty and plenty of laughs. We caught up with Rachel ahead of her return to Scottsdale for a special one-night performance to talk about comedy, confidence, and what it means to come home.

Welcome home, Rachel! What does it mean to you to bring “TOO MUCH OF A GOOD THING” back to Scottsdale after performing it internationally, including at the Edinburgh Fringe?

Rachel Redleaf: "It means everything. Scottsdale is where this story began—literally, my boobs grew up here. Bringing the show back after performing it across the country and internationally feels like coming full circle, but with more confidence and better pacing. There’s something really powerful about sharing this deeply personal journey with the community that watched me grow up (and grow out, quite literally). The very first time I ever performed this show for an audience was at Greasepaint, and I’m forever grateful to Moe, Matt, and the whole Arizona theater community. You gave me the support and space to begin this journey."

Your show has been described as both hilarious and heartfelt. What inspired you to tell your story in this one-woman format, and how did the concept of talking breasts become part of the narrative?

"I’ve always loved using humor to process everything—and frankly, my boobs have had a lot to say over the years. Turning them into literal characters just made sense. The one-woman format gave me the freedom to tell my story on my own terms: the chaos, the comedy, the trauma, the triumph—and yes, the talking tits. It felt honest. Weird, yes, but honest."

You take audiences through very personal territory—childhood, puberty, trauma, and self-image. Was it difficult to mine those experiences for comedy, and how did you find the balance between humor and vulnerability?

"It was definitely a balancing act. But comedy is how I’ve always coped—laughter is my lifeline. I didn’t want to shy away from the tough stuff because that’s what makes the funny parts hit. I had to be vulnerable, but I also gave myself permission to be silly, even when talking about shame or pain. The goal was never to make light of what I went through—it was to shine light on it.  And if I can make people laugh and cry in the same scene? That’s when I know I’m doing something right."

The show has been described as “funnier, fiercer, and more fearless than ever.” What has changed or evolved about the show since its original run?

"I’ve grown, the show’s grown, and my boobs have—hopefully—stopped growing. But seriously, this show has evolved so much. Performing it for different audiences has helped me tighten the pacing, punch up the jokes, and dig deeper emotionally. I’ve added things, cut things, and reshaped moments that now feel so much more grounded and honest."

Rachel Redleaf as Mama Cass in Once Upon a Time in Hollywood

You’ve appeared in various film and TV roles, including as Mama Cass in Once Upon a Time in Hollywood and Beth in Atypical. How do those experiences in film and TV inform or contrast with performing live in a solo show?

"Film and TV are amazing! Both Beth and Cass are women with body image struggles, and playing those roles really shaped my perspective—and influenced what I chose to explore in this show. But the process is totally different. On set, you’re told where to go and what to do. With a solo show, I’m not just performing—I wrote it, directed it, and star in it. There’s no one to hide behind, and there’s always something to tweak or fix. It’s a whole different level of vulnerability. But I get to tell my story, show what I want to show off, and make the kind of art that lights me up. Theater is larger than life—which is my favorite thing to be. It reminds me why I started acting in the first place. And creating my own work has helped me stay fresh and visible, even when the industry is quiet."

One of the themes in your show is body positivity and self-love. What have audience responses been like, particularly from those who’ve struggled with similar issues?

"The response has been so cool! So many women have come up to me after shows to say, “I’ve had a breast reduction too!” It’s crazy how many of us are out there (I think the number is over 100,000 in the U.S. each year), but we don’t really talk about it. People have cried, laughed, hugged me, thanked me. One woman told me she’s never felt more seen. And that’s exactly who I do this for. This show won’t be everyone’s cup of tea—but for the people who relate, it hits hard. It’s healing to be able to say something out loud, laugh at it, and let it go a little."

Tell us a bit about performing at the Edinburgh Fringe. What was that experience like, and did you find international audiences reacting any differently to what is your very American, very personal story?

"Edinburgh Fringe was WILD—nonstop shows, endless walking, and so many accents. I did at least one show every single day for a month. That alone makes me feel like a badass. It was exhausting and incredible and life-changing. I honestly still can’t believe I did it.   It kind of felt like camp—lots of stress, but what stuck with me was the joy, the inspiration, and the sense of community. And getting to perform on the Playbill FringeShip was a dream. The whole thing felt like the hardest, most inspiring, weirdest summer camp ever. Artists everywhere, shows nonstop—it fueled me in ways I’m still unpacking. I didn’t even realize how American it was until a joke about Monica Lewinsky, which hits every time, stopped landing. And I was like “Ohhh, maybe they don’t know who that iconic legend is.” But the core themes? Totally universal. Confusion around body image, puberty, shame, wanting to be loved? That stuff hits everywhere."

Rachel Redleaf in Legally Blonde at Greasepaint Youth Theatre

You’ve clearly found a way to combine comedy with your personal journey. Who are some of your biggest influences in comedy or solo performance?

"Bette Midler, obviously. People call me “The Divine Miss R,” which is truly the greatest honor. Carol Burnett, Gilda Radner, Sarah Silverman, Rachel Bloom—they all taught me the beauty of being big, bold, and ridiculous. They showed me that the stupider you look, the better. That you can be heartfelt and hilarious. I learned from a very young age that if people are laughing because of you (or even at you) you are doing a service of kindness to the world. Laughter is the best medicine and I love contaminating others with infectious joy."

If you could tell your younger self—who was navigating all the awkwardness and angst you explore in the show—one thing, what would it be?

"First and foremost, be patient and don’t pray so hard, the boobs will come! You gotta be careful what you wish for haha. Confidence has always been my super power. And I would remind myself that “You are not too much.” Anyone who thinks differently can go find less. And most of the time, your too muchness gets you standing ovations. My confidence has definitely been shaken since I got older, but it’s never fully left me. In this industry, you have to be a little delusional to keep going. You hear way more “no”s than “yes”es, and even some of the yeses fall through. That’s just showbiz, baby. But your voice is your secret weapon. Don’t wait for someone to hand you a mic—grab it and start singing. I keep going because performing is what I love doing. Believing in myself is what’s gotten me this far—and that’s something I hope younger me would be proud of. "

For those who missed the show the first time you performed it in town, why is now the perfect time to come see Too Much of a Good Thing and what do you hope people take away from it?

"Now’s the perfect time because I’m coming back—and that should be enough, don’t you think? ;) But really, the show has matured. It’s tighter, deeper, and more fun. It’s a mix of comedy, catharsis, and chaos—and whether you’ve ever had any sort of confusion surrounding your body or have a crazy Jewish mother, or just want to laugh and feel something real, there’s something in it for you. I hope people leave thinking about their own stories differently. I hope they feel lighter, braver, and more alive. And if nothing else, I hope they leave thinking, 'Wow. I did not expect the boobs to talk'. "

CLICK HERE for more information on Too Much of a Good Thing, that plays Scottsdale Community Players on June 7