Celebrating London Cocktail Week toasting No Man’s Land with Ian McKellen and Patrick Stewart

Wyndhams Theatre until Saturday 17 December


I last saw Ian McKellen and Patrick Stewart on stage together in 2013 in Sean Mathias’s production of Waiting For Godot. Here the three are reunited again, this time taking on Harold Pinter’s 1973 play No Man’s Land.  Together the pair are mesmerising and make this one of those performances to remember.

It’s impossible to take your eyes away from McKellen as he skirts around the stage, seemingly silver-tongued and shifty as poetic Spooner, whilst Stewart gives a menacing, sinister edge to wealthy writer Hirst. McKellen and Stewart’s humour and natural, charismatic friendship gives a comic sparkle to this production, especially when combined with Pinter’s eloquent, edging on uncomfortable dialogue. The language is a highlight, the tone funny but bitter, scornful one-liners seeing the audience in fits, such as Briggs’s shout “the best time to drink champagne is before lunch, you c**t”.

At first it seems Hirst and Spooner are strangers. Having just met in a West Hampstead pub, Hirst has invited Spooner back to his house for a drink. The two elderly men knock back whisky “as it is”, with Spooner cradling the bottle to his jacket, keen to take advantage of Hirst’s plentiful bar. There is perhaps a homoerotic undercurrent, talk of walking Hampstead Heath “with expectations” in their youth. A favourite scene of mine sees the pair taking tea the day after, now apparently old acquaintances from university. Between sips and stirs of milk we see a hilarious exchange of romantic misdemeanours recollected from younger days, stories interjected with comical exclamations of “I don’t believe it” and “outrageous!” McKellen’s body language, expression and incensed handling of his tea cup saying everything as Stewart speaks.

McKellen and Stewart are joined by Owen Teale as Briggs and Damien Molony as Foster. Between the four men the silent power exchanges are continual, felt in the fetching of whisky, serving of breakfast, even the movement of furniture – from Hirst crawling out of the room on hands and knees after the night’s drinking, to Spooner falling to his knees and begging at the close of the play. Set and costume design is the work of Stephen Brimson Lewis. Hirst’s single luxurious armchair breathes the command of comfortable living, forcing others to stand or hover around him, or sit on the edge of the carpeted circle on straight-backed, wooden chairs which move round the stage erratically as they are claimed by changing occupants. The inner circle of the floor is black and white patterned, the furniture positioned around it like the changing hands of a clock face. In fact Hirst’s whole room is circular. I feel sometimes as if the circle of the floor is about to start spinning wildly off into time.

The sense of time is definitely confused in no man’s land. When Hirst returns to the room the same evening he asks the time, wondering if he went to sleep in the afternoon (the best time to sleep, apparently, while others get ready for dinner) and the next day when it seems afternoon Hirst asks for the curtains to be drawn and lamps lit. There is almost a stasis to this play’s time. The two men are in the autumn of their lives, repeating no man’s land as something which “remains forever, icy and silent”. These men are part of a post-war generation of soldiers – Hirst’s clipped enquiry “Did you have a good war?” tries to integrate conflict as a part of tight-lipped polite society to be enquired about and dismissed. In the first scene Spooner explains where he derives his strength (which for some he says is learned, feigned) and asks, has Hirst ever been loved? He replies, probably not. There is a sad edge of isolation to this sort of “strength”, Spooner mockingly titled “Mr Friend” by Briggs and Foster, who arrive later and are suspicious of his relationship to Hirst. Upon reappearing Hirst appears not to know him and angrily shouts “You are not my friend!” – for his friends all look out at him from the pages of his photo album, they are nameless, silent, parts of history.

Playing with words signals the end – “let us change the subject for the last time”. If the subject and time is now winter then it will be winter forever. We see a branch reaching out from the CGI projected trees of Hampstead Heath, and we are reminded of when the interval was announced with the words: “You know what it’s like when you’re in a room with the light on and then suddenly the light goes out? I’ll show you. It’s like this.” Darkness. And then the applause.



Our Ladies of Perpetual Succour go on tour

Transferring to Duke of York’s Theatre May – September 2017

Playing at the Dorfman Theatre, National Theatre until Saturday 1st October 2016


In a riot of shrieks, singing and Hooch drinking six teenage girls from Oban set out on a school trip to Edinburgh to take part in a choir competition, accompanied by teachers who we never see, but hear through the girls’ glorious imitation of a whole range of characters. They morph into barmen, shopkeepers, infuriated nuns as the day unfolds and they trip haphazardly through a series of encounters. They tackle a whole range of voices and personalities brilliantly, the faultless switching between schoolgirl and bouncer refusing entry at the door of a club a highlight amongst many.

Our Ladies of Perpetual Succour (the Lady the Virgin Mary) as the title and name of the imaginary convent school is just the first of many chuckles, the girls’ school year seeing a record number of teenage pregnancies, and nicknamed the Virgin Megastore. The show arrives in London after a sell-out run at last year’s Edinburgh Fringe, where this National Theatre of Scotland and Live Theatre co-production won several awards. Alan Warner’s novel from the nineties The Sopranos has been adapted into play form by Lee Hall, also responsible for Billy Elliot and Warhorse, and teaming up with Vicky Featherstone as director. The music has been arranged and supervised by Martin Lowe, also responsible for musical Once, and is a joy – ranging wildly from the choral opening notes of Mendelssohn’s “Lift Thine Eyes” to the toe-tapping, mike-screeching rendition of ELO’s  “Mr Blue Sky”, complete with band throughout.

Amidst the flaming sambuca shots, tequila slammers and endless Hooch beers there are moments of quieter contemplation too – as popular girl Fionnula (Dawn Sievewright) considers the percentage of our lives left unlived (“we are just a tiny percentage of what we could have been”). Or as survivor Orla (Joanne McGuinness) buys shoes with her “cancer money” for best friend Manda (Kirsty MacLaren), the girl who bathes in milk powder for a luxury – calling it a “Cleopatra bath” – with her dad using the same bathwater afterwards. Seemingly good girl Kay with university aspirations (Karen Fishwick) isn’t without her own share of drama either.

At first the strong accents may be a little hard to decipher but it’s well worth sticking with these girls for the full uncensored rollercoaster of teenage discovery – grabbing life as it comes and wringing experiences out of a world which can be unfair, bewildering and beautiful.

Somewhere between the devil and the deep blue sea 

​Playing at the National until Wednesday 21 September

Carrie Cracknell’s new production of Terence Rattigan’s play The Deep Blue Sea is the best thing I’ve seen at the National this year. And not just because I was sitting a couple rows from the front, seats down from a fellow theatre-goer who looked very much like Billie Piper (currently wowing in Yerma at the Young Vic) Thank you  £5 entry pass tickets! 

I do think though that being so close to the stage, seeing the facial expressions and body language in all of their detail, only intensified the emotion of the performance for me. I was sucked in from the very opening note of the music, as a third floor of a boarding house in Ladbroke Grove, London, is revealed. Through the ghost walls of Tom Scutt’s design we see shadows of neighbours upstairs, making the bed, leaving the house, slamming doors, waiting in doorways. The walls are  all duck egg blue with darkening shades of blue. Deepening the watery allusions I feel there is something akin to the sometimes surreal sound of being underwater as the play progresses. The music playing on the record player lends a sense of closed privacy, amidst a sort of deep quiet, like when the loud sound of the rain is shut out as Freddie closes the windows to consult the friend he has invited round for a heart to heart. 

Lovers Hester and Freddie are at the heart of the story. If it is a competition for the audience’s affections and allegiance then Helen McCrory as Hester Collyer wins my vote. She is familiar from appearing in 3 of the Harry Potter films as Narcissa Malfoy. When we first meet Hester she is dragged by her neighbours from an unlit gas fire, somewhere between the devil and the deep blue sea (as she explains “when you’re between any kind of devil and the deep blue sea, sometimes the deep blue sea seems very enticing”) Hester has, controversially for 1950s England, escaped marriage with respectable, affluent Lord Collyer and ran away with lover Freddie, played by Tom Burke, recently in the BBC’s War and Peace and announced to play Cormoran Strike in their forthcoming adaptation of the Robert Galbraith novels. Freddie has dark floppy hair, and seems self absorbed in his emotions rather like a child. He was a pilot in the war and drinks whisky like water.

Once rescued Helen McCrory is languid and smoking in her dressing gown, curls of cigarette smoke rising from her sharp edged elegance. She is quietly powerful, mesmerising and memorable delivering a truly stunning and highly emotional performance. The lovers Freddie and Hester seem to be out of their depth, so much is clear from the near tragedy of the opening scene. There is the  thrall of passion but not the love Hester yearns for.   When we later hear the line describing her relationship with lover Freddie: “You and I are death to each other” we have already seen the evidence of how true these words could be. Freddie starts to flounder. While Freddie is harder to relate to he does struggle to offer a defence of his character – “I’m not a sadist” he whines “I don’t enjoy causing people pain.” Yet is he capable of returning the kind of love Hester gives? When Freddie returns having been for a walk and prepared a speech it is all painfully rehearsed, at odds with the spontaneity you might expect from genuine affection, or at least the product of a person very distant from, and perhaps even unable to handle, emotion. The painfully confused paradox of Freddie’s words – “I don’t love you, not in the way you mean”, yet –  “I love you more than I have loved anyone before” – suggests as much.  There is a heartbreaking moment as Freddie moves to take his shoes from Hester,  who is mid polishing, and who cries out and totters across stage, desperately holding on to the shoe and to Freddie, not finished with either of them. The pain feels incredibly real and so it makes sense to me later to read of Rattigan’s own loss of his lover of ten years Kenny Morgan. Kenny Morgan gassed himself to death in a London bedsit after leaving Terence Rattigan for a younger man, his sexuality seen as a crime to society at that time. Homosexuality is displaced  from the lovers’ relationship (given the 1950s context of play’s creation) and is instead seen in the character of Mr Miller and the loss of his profession as a doctor.

Poised between the first scene and the last is the choice between the anonymity and numbing suffocation of the deep blue sea, or life – however mundane and painful it can be – sensation and feeling, at least for today. In the last scene we see Hester using a gas oven, making fried eggs and taking the first bite. Whilst love, or the lack of it, can seem poisonous the ex doctor in the house, Nick Fletcher as Mr Miller, is a steady source of if-at-first-rebuffed help and wisdom. He sees artistic talent, something different to the others, in Hester’s very first painting. Could it be hope? He calls it a flicker,  not a great fire, but suggests that the world is a dark enough place to make even a little flicker very welcome. Looking for the flickers in the big black darkness seems like sound advice to me. And it seems fitting that this flicker is found in art, Rattigan’s own choice of medium for voicing his own love lost.  

Kenneth Branagh’s Romeo and Juliet at the Garrick

I was excited to see a Kenneth Branagh production at the Garrick Theatre, especially a Shakespearean classic like Romeo and Juliet. The grand circle bar is beautiful, with the balcony outside welcome respite in the warm, and very atmospheric. The theatre seats though are painfully creaky! dotting the performance with the occasional groan from neighbours shifting in their seats.


Lily James and Richard Madden were billed to play the star crossed lovers, fresh from their fairy tale happy ever after in the recent film version of Cinderella, also directed by Branagh. As well as her turn as peasant girl to princess in beautiful Dior blue, I’d also admired Lily James (previously known as fun-loving affectionate Rose in Downton Abbey) in her leading role as heroine Natasha in the BBC’s War and Peace adaptation. The performance I saw was missing Richard Madden – otherwise known as Game Of Thrones’s Robb Stark – with Freddie Fox filling in and taking on the fated name of Montague.

Lily James is the absolute highlight for me, she lives the lines – the anguish and excitement of teenage love made real in her breath. There is a humour and touching affection to her Juliet – cartwheeling off stage in opening scenes of delight, and later sneaking a bottle of wine out on to the balcony beneath her nightdress to lament wherefore Romeo be her lover’s name. Admittedly the balcony is stunted in growth, a few baby steps above the ground, but the pair work well with what they have. Comic genius Meera Syal is predictably a treat as the Nurse, taking a shine to the friar (Matthew Hawksley) and carelessly encouraging Juliet to transfer her affections to parent-approved Paris. Derek Jacobi (also plucked from Cinderella – the king) is a lot of fun as garrulous, silver-haired Mercutio, a fan of dancing and a comic highlight. There is a definite effort to get in to the Italian spirit of things (too much at points). Mostly though it feels natural – Mercutio and the others al fresco drinking on a Verona terrace, Lord Capulet (Michael Rouse) sipping on an espresso as he receives the news that his daughter will not marry Paris. In fact James’s scene with Rouse in his white vest, demanding with frightening and aggressive force that she marry Paris, has harrowing power. The music of heartbroken violins is just a little too overwhelmingly loud though at points, like Juliet’s poison scene. As the friar’s poison takes effect James pulls down the bed curtain as she falls, and it swathes her like bridal clothes . Later as she is taken away it’s left on the floor like a ruined veil, her now distraught father carrying his daughter’s quiet body into church.

Fox is soon to appear in Stoppard’s Travesties at the Menier Chocolate Factory. His Romeo though, feels a bit watery somehow, his passion diluted into something you can take or leave. He is much more convincing as a young teenage boy, pining after Rosalind, than as the serious lover driven to tragedy.

Christopher Oram’s set eliminates any possibility of enjoying the masked revels with no sense of consequence. The merriment of the masked ball is staged amongst the dim columns and yellow stone of the tomb, overcast with the tragic end from the beginning. The light immediately picks out both Romeo and Juliet, as bright angels, and at once it feels like a question of waiting for the tragedy to start. The stage allows no separation from what has come before, so entwined are the tragedies with for example the hushed secret wedding, which happens in a far corner beside one of the columns. It makes me think that whilst Romeo and Juliet is much quoted as the ideal of love, we are rarely if ever allowed to bask in any straightforward sugary romance. Romeo’s proposal of marriage comes via Juliet’s nurse and requires a payoff to gain her ‘recommendation’. The gloomy reminder from the beginning means that somehow you can never fully lose yourself in the lyricism of Shakespeare s love poetry.

“When he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.”

A Midsummer Night’s Dream at the Globe

  • Running until Sunday 11 September 2016
  • Approx 3 hours, including 15 minute interval

There is something magical about watching A Midsummer Night’s Dream at the Globe theatre. You feel very far from the Southbank, falling deep into fairy land after walking through the pretty fairy-lit trees and finding your seat (or standing spot) beneath the white baubles. Open air theatre is perfect for this much performed comedy, the sun slowly setting as the play progresses. There are little anchors to the modern world though – this is far from a complete submersion in otherworldly enchantment. Modern jokes abound, and the fun-loving comedy laid on thick is the glue of this production.  It’s probably not the performance for strict purists. But what the play lacks in sincere, conventionally pretty woodland magic it makes up for with its abundance of mischief, sparkle and spirit.
Emma Rice’s first production as Artistic Director at the Globe is raucous, promiscuous, and bubbling with wild youthful energy and unapologetic naughtiness. Puck’s closing line is spot on – “If we spirits have offended, think but this, and all is mended, that you have but slumbered here, while these visions did appear”. The production does play out like a colourful spectacle of a weird but wonderful day dream. It is bright and brilliant in its Bollywood style dancing and celebration – the post wedding festivities a treat for the senses. Special credit to the choreographers Etta Murfitt and Emma Rice for interspersing the modern dance moves (Beyonce’s ‘if you like it then you should have put a ring on it’ outburst a particular personal highlight).


In a welcome change to the original Helena becomes Helenus, a tight trouser wearing Hoxtonian in love with Demetrius. Despite Emma Rice’s joking interpolation of the line “why is everybody so obsessed with text” into the play (Rice has directed only one Shakespeare play prior to this one) this choice brings new meaning to Demetrius’s line “I cannot love you”, adding an extra gratifying dimension to his gradual acceptance of his love for Helenus. It also gives new meaning to Hermia being short in comparison (a “dwarf” compared to Helenus’s man height) as well as to Hermia’s relationship with Helenus, her gay best friend.

My favourites though are Anjana Vasan as Hermia – enthusiastically earnest, loveable and funny, and Katy Owen as Puck – with flashing, glittering silver trainers. Puck is the bold and lascivious spirit of the play, tugging groundlings’ hair, kissing, squirting water pistols into the crowd. The four lovers are regularly in the pit area too, making sure that the space and standing audience are very much interacted with. The Rude Mechanicals meanwhile are dressed up as a bunch of Globe stewards and cleaners. They run through safety at the beginning, with attendants on hand to help slick down big view-affecting hair, or over-loud snack munching. The play in the play Pyramus and Thisbe is a hilarious highlight. “Wall” is a collection of brightly stacked cereal boxes, alongside stage shy Rita Quince (Lucy Thackeray), and Bankside Health and Safety officer, Nick Bottom (Ewan Wardrop).

The stage is a wedding cake centrepiece, pulsing with the energy and colour of the performance. Huge white balloons are suspended above the groundlings, Titania descends from the sky, a red neon sign proclaims “rock the ground”, whilst a fireman’s pole on stage sees cast members slide and bounce into centre stage. This may not be the Midsummer Night’s Dream you know, but it is certainly one to revel in before the summer is over.

Brecht in the midst of Brexit. Mack is back in town

At the National Theatre until 1 October 2016


Rufus Norris directs this revival of Brecht’s The Threepenny Opera, placing it on the streets of grey modern London. Brexit vote aside, the glorious power of the arts to unite can triumph in the fabricated world of theatre. Here on the Olivier stage German streets can easily morph into English ones, suggesting a shared cultural and artistic European heritage which we as a nation can collectively draw on, adapting and informing our own ongoing creativity. Brecht and all of his learned European friends across the ages are all welcome immigrants for our arts industry, be it for theatre productions, art, film literature, or music. It is more than a shame that those who come over to power our services, our NHS, are not always viewed by everyone in the same positive light. And sadly that is not to say the collaborative heart of the arts can beat on irrelevant of surrounding political madness – its survival will certainly be harder without EU funding and it is an industry reeling like most from the outcome of the vote.

Perhaps given the devastated angry frustration delivered to half the nation by the results of the recent referendum The Threepenny Opera is now even more of a relevant production than when I saw it when it first opened in May. With the backdrop of impoverished 1920s Weimar Germany to drive him Brecht adapted John Gay’s The Beggar Opera into The Threepenny Opera, set to music by Kurt Weill and translated by Elisabeth Hausmann. Here in Rufus Norris’s production the stage is constructed and de-constructed before you, revolving slowly, lights flashing on and off, placards carried round by cast members addressing the audience with stage directions and notice of the interval. These most obviously convey Brecht’s Verfremdungseffekt. Through this he aimed to provoke a critical perspective, enabling watchers to appreciate the constructed nature of reality both outside the theatre as well as within it. Brecht hoped to mobilise his audience to go off and do something decent to improve the changeable surroundings they live in – perceiving their lives, just like the play they have seen, as a story they can shape. Perhaps we might sit MPs down in front of a bit of Brecht and hope they might leave inspired to show some sense and write us out of unfriendly isolation and into a brighter epilogue. As J K Rowling wrote on her website, both Leave and Remain sides were “telling us stories” about the referendum but the ending, “happy or not”, would be “written by us” (http://www.jkrowling.com/en_GB/#/timeline/on-monsters-villains-and-the-EU-referendum). A poll claims one million people now regret their choice to vote leave, whilst statistics show those communities most dependent on EU funding are in fact the ones to have voted leave, suggesting as a population we could do with being a little more engaged with our social realities.

In this adaptation of The Threepenny Opera Simon Stephens moves from the triumph of his stage adaptation of The Curious Incident of the Dog in the Night Time to something much darker and less polished, and rather lacking the entrancing magic of Curious Incident. The Threepenny Opera is not for the easily offended, it is lewd in its humour and careless with its language – particularly eloquent in its filthy insults (“f*** off poppet” and “perfumed prat” to remember a couple). The comically satirical portrayal of the type of beggary that gets results is most memorable in my mind, as the beggars gear up for the royal parade under the command of cross-dressing Mr Peachum and Mrs Peachum, clad in skin-tight scarlet. This is a cheap opera, we are assured at the beginning, there are no morals. Vicki Mortimer’s design helps to create a macabre feel, a bizarre and gruesome half-built fairground propped with undead dolls like puppets, dressed with gothy style and red string spooling out of them when things get violent. For me feeling no real emotional attachment to the characters is a strange sensation. Particularly at the end it feels a bit like watching a play-back of action, sometimes in slightly slow motion (the play as a whole could have been shortened down a bit) all calculated, ordered and premeditated. It has the unusual quality of watching a nightmarish circus in a dream, which one has no real investment in except for a general curiosity to find out how things play out, and a fascination for the odd and illicit.

Rory Kinnear is Macheath, not especially menacing, but slick, if a little too well put together. Fresh from As You Like It Rosalie Craig has the edge on him as Polly Peachum, unexpectedly punchy and astute beneath my first impression of her bespectacled naive girlishness. She sensibly opens bank accounts whilst proving her salt more than once with Mack’s boyish band of outlaws. Special mention must also go to George Ikediashi’s opening rendition of ‘Mack the Knife’.

There is something unfinished and too loosely knit about the whole thing which fails to grab me completely, but maybe this is part of its charm. It’s worth a watch but if I had to choose one thing to see at the National this summer it would be The Deep Blue Sea (more on this one soon!)


People, Places and Things

Directed by Jeremy Herrin

People, Places and Things is a play about rehab, powerful in its manipulation. As well as being search words on Facebook,  people, places and things are all triggers for recovering addicts – old friends, haunts, pubs, parties, situations and surroundings which all require practice, rehearsal to return to and deal with sober, post therapy.
As an actress Emma is well used to rehearsal. To circles of chairs where people introduce themselves and perform. It seems hard for her to reconcile this familiar scenery with honesty and with truth once she reaches group therapy. As the play opens, she is playing a part in The Seagull. The first name she gives in rehab is that of this character, Nina. The pretence continues even as the alias changes. Is it Nina, Emma, Sarah or Lucy we see?
It is easy to see why Denise Gough won this year’s Olivier Award for Best Actress for this production. She eludes us, pushes us away, deceives us, manipulates us, just like she does to her mother, her group, those who think they grow to know her. I find her simultaneously incredibly frustrating and hypnotising. We reach out to her but she brushes off attempts to connect and engage with well-phrased untruths. She also plays being drunk and disorderly exceptionally well.

Rehab is not a magic first time solution to addiction and Duncan Macmillan’s play conveys this painfully well. In fact the ideal seems to be to get a job at the clinic, acting as a safety net once you are thrown back into the real world and its temptations. Substance abuse is like a romantic relationship for Emma. She is passionate about it. Emma is eloquent on addiction (Gough explains in an interview “I’ve seen people connect their success and personality to some substance” https://www.theguardian.com/stage/2016/mar/07/denise-gough-people-places-and-things-addiction-interview). Acting gives Emma the same buzz – providing a place where she speaks poetry, words “you would never think to say yourself” (from Romeo and Juliet: “When he shall die, take him and cut him out into little stars… all the world will be in love with night”) A place where all the amazing interesting things happen all at once without the boring parts. And then you go back to your own life. And what is it? How does it compare? Emma played the part of Antigone and her heart broke for her. When her own brother died she claims to have felt nothing.

The cast are consistently outstanding and the quips are quick and clever (“Amen is like pressing send on an email”). Following a stint at the Dorfman Theatre, this co-production from the National Theatre and Headlong moved to the Wyndham’s. It’s last performance was (sadly) yesterday. The play starts like the Wyndham’s is about to have a power cut – the please turn off your mobile phones message distorts, the lights flicker – it seems we are soon about to enter rehab where mobiles aren’t allowed and orange squash and the twelve steps of therapy dominate.

The set is clinical, another of Bunny Christie’s successes (she was responsible for The Curious Incident of the Dog in the Night Time’s too). As Emma goes cold turkey we see multiple copies of her coming through the walls, through the bed, disturbing and mesmerising. I also like the idea of having audience members sitting on stage – their presence seems to reinforce the idea that it is all a performance, that there is an artifice to what we are watching.

Gough says “The final scene of the play, brutal in its laid-bare honesty, is quite simply the most powerful segment of theatre I’ve seen in years” http://www.standard.co.uk/goingout/theatre/denise-gough-interview-i-thought-it-was-all-over-but-it-isn-t-a3194576.html ). I have to agree. There is a line which genuinely draws gasps from the immersed audience, a line which comes from the character Emma seems to seek approval from the most: but Emma, “ drugs and drink are what made you interesting”. There are painful glimpses of honesty which are indeed “brutal”. In the last scene Emma is in her old bedroom with her parents, faced with her past, some of which she genuinely doesn’t seem to remember. Her mum reminds her Emma broke her fingers last time she tried to help her daughter by getting rid of her drugs – “why do you think I don’t play the piano anymore?” We want the whole story but Emma herself only has a fragmented story. She can’t even give us her real name.

To hear that Emma is approaching forty is a shock for me, so childish is her behaviour especially with her parents. There is something strangely ageless about her and throughout the play Emma is a sort of void, a blank space where we glimpse someone who can be witty, clever, manipulative, caring, cruel, confused, vulnerable.  In this final scene we see a sad version of her – hunched in the box room along with the storage boxes, eventually alone, facing a future of people (although she “probably won’t have children now”), places, things, and what?

I’m keen to see whatever Denise Gough turns her talent to next.