This Is Not About Me – Soho Theatre, Soho

Writer: Hannah Caplan
Director: Douglas Clarke-Wood

Reviewer: Christine Stanton

“Creative & Self-Reflective“

4 / 5

Grace wants to write a play, but how much of it should be the truthful, accurate depiction of her relationship with Eli, and how much can she reshape with exaggerated, creative license?

According to Grace (Amaia Naima Aguinaga) the story is more important than a factual recollection. The mundane interactions between the pair don’t make for a good narrative, so why not amp them up slightly? The problem Eli (Francis Nunnery) has, is that in a show somewhat about him – nobody is going to know what’s real and what’s tweaked, and painting him in a not so complimentary light could have negative repercussions.

The stage, designed with the collaborative team, is reminiscent of an art exhibition – thread rags hanging from the ceiling like spiderwebs, one singular bed in the centre of the room and various print outs stuck on the walls, portraying the messy mind map of putting together a production. Throughout the show, various other creative props are revealed, from giant puppet heads to depict some very funny sex scenes to a giant poem unravelling from the ceiling. The experimental visuals are an enjoyable touch, not only expressing the creative chaos in the writing process, but also adding a level of intrigue for the audience to find out what will be shown next.

Visuals from video designer Iñigo Woodham-Smith are used frequently also – occasionally just a time signifier within the story, but frequently also woven into the production. One example of this is when the pair are watching a movie – the audience see the movie sped up from beginning to credits as the pair awkwardly wait for each other to make a move, with subtitles displayed above them to disclose what they’re thinking, but not saying out loud. It’s brilliantly endearing, relatable and wickedly funny and solidifies the connection between the two characters with fantastic clarity.

It does take a little while for the show to find its footing. The first twenty minutes or so are a bit all over the place and it’s a struggle to fully invest without knowing what you’re investing in. One line outlines the need (and lack of) structure in modern shows, which is ironic because the beginning is quite slapdash and too abstract to really embed the narrative. As the show progresses however, more context is given and it makes a huge difference in enjoying the show. As Aguinaga and Nunnery get more comfortable, they completely get in to their flow, delivering charismatic, comedic performances packed with believable chemistry. The original scrappiness in the writing, becomes clever and self-reflective, and the hurtling between the past, the process and the present, become clearer and more engaging. A strong, unique show.

Runs until 18th April 2026