“A darkly comic exploration of mental illness”
Alan Ayckbourn’s 1985 darkly comic exploration of mental illness, family life and suburban frustrations still grips audiences forty years on. The show is currently on at the Theatre Royal in Glasgow until the 14th of March. Whilst the material isn’t always the most nuanced or sensitively handled in the script, director Michael Longhurst has put together an absolutely phenomenal show. Known for his recent work on Next to Normal, themes of family life are clearly central to his directorial work. The cast and technical aspects shine, and the show is funny and unsettling all at the same time.
The play opens with Susan (Sheridan Smith) being called upon by local doctor Bill Windsor (Romesh Ranganathan), having received a blow to the head. Susan’s perceptions of reality are warped, and she imagines a fictive life in place of her ordinary and unhappy one. In her fantasies she’s wealthy with a dashing husband (Sule Rimi), loving brother (Chris Jenks) and devoted daughter (Safia Oakley-Green). In her real life, she has very little interest in her husband (Tim McMullan), her sister in law (Louise Brealey) is dour and her son (Taylor Uttley) has not been home in 2 years, having joined a sect that didn’t allow its members to contact its families. The script is incredibly witty, even if it is not always terribly sensitive or nuanced in its depiction of mental illness. However, it is fundamentally an empathetic play.
There was not a weak link in the entire cast, each of the performers were able to balance humour and surreal admirably. Smith’s performance as Susan is truly wonderful. The role is demanding, Susan never leaves the stage. She is able to capture everything the role necessitates, she is funny, acerbic, downtrodden and active all at the same time. She was nothing short of magnetic in the role. Ranganathan’s performance as the hapless Bill Windsor was unexpectedly earnest but unsurprisingly funny from the comedian. Safia Oakley-Green and Sule Rumi were able to balance wholesome and unnerving as Susan’s fictive family.
Particular credit has to go to the technical design elements of the show. Lee Curran’s lighting design is nothing short of magnificent. The use of specific and targeted blackouts gripped the entire theatre, creating a disorienting experience in the best possible way. When paired with sound designer Paul Arditti‘s use of high pitched ringing, and Sputra Gilmour’s set of the faded, overgrown garden, the design helped ensure the play’s impact. Andrzej Goulding’s video design helped communicate the surreality of the play effectively.
Woman in Mind is surreal, heartbreaking and funny. It is well worth your time. Tickets are available here.