Erin Joy Schmidt astonishes as fashion icon Isabella Blow in Mad Cat Theatre Company’s production of “Blow Me,” written by Jessica Farr. However, Schmidt’s strong performance overshadowed the rest of the cast. Despite their exquisite performances, their oddly unfashionable wardrobe and chaotic interstices distracted from Schmidt’s commanding presence on stage which, for me, was enough. Donning a tight fitting camel-colored floor-length knitted tube dress, a long-sleeve faux rabbit fur coat, high heels, red lipstick and an asymmetrical hat of purple, blue, red, orange and yellow feathers, Schmidt delivered a flawless performance of an extraordinarily flawed character while puffing continuously on an electronic cigarette.

“Blow Me” by Jessica Farr.

Deftly directed by Mad Cat Artistic Director Paul Tei, “Blow Me” transported the audience at the Miami Theater Center (despite the less than glamorous stage design) into Blow’s mad, mad world—a world punctuated by fashion, drugs, exotic locales, bizarre marriages and several failed suicide attempts. Perhaps, most importantly, we learn through the course of the play that mental illness can ruthlessly affect any one of us regardless of privilege and pedigree—and that, behind all of the flashlights, explosions and acidic glamour of the fashion industry, there are always moments of absolute darkness, absolute loneliness. “I’m fighting depression, and I can’t beat it,” she once confided in her husband, Detmar Blow. Blow eventually lost the fight with the help of her friends and family.

When Blow was a girl, her 5-year old brother drowned in the family pool under her supervision. Blow’s mother (played by Emilie Paap) callously “put her face on” before calling authorities. As a girl, she hunted with her father, who eventually cut her out of his will. He would always tell her that she talked too much and that her face would scare away the quail. “It’s hard being a woman with my expectations,” Blow declared in a solemn corner of the stage. In that moment, Blow’s obsession with outrageous couture hats became clear. They drew attention toward her, but away from her face.

A major focus of the play is Blow’s relationships within the fashion industry, especially her connection with Philip Treacy and Alexander McQueen. In 1993, Blow discovered fashion designer Alexander McQueen, delicately played by Matthew Glass. She brokered Gucci’s buyout of his label. However, once the deal was signed, Blow was cut out of any future relationship, was given a dress and then attempted suicide. In an interview, McQueen vehemently declared he was not responsible for her actions. For his actions? It’s not clear. Alexander McQueen killed himself almost three years after Blow’s death, but that’s another story.

“Discovering talent is like being a mother but all the milk is dried up,” Blow reminisced. Abandoned by her friends, neglected by her family, suffering from bi-polar disorder and diagnosed with ovarian cancer, Blow saw herself as Anna Karenina. And who wouldn’t! Instead of throwing herself in front of a train, Blow downs weedkiller and kills herself. As the stage and Blow’s life faded to black, she posed two questions: “What am I without the spectacle? Who really lives without it?”

Who can live with such spectacle, I asked myself. And are we responsible for the well-being of those who do?

“Blow Me” runs through Sept. 1 at The SandBox at the Miami Theater Center, 9816 NE 2nd Ave., Miami Shores; 305-751-9550; www.mtcmiami.org. Performances take place Thurs.-Sun. at 8 p.m. Tickets are $30, general admission; $15, students with ID. To purchase tickets, call OvationTix at 866-811-4111 or visit https://web.ovationtix.com/trs/cal/32115.