Writer & Director: Susannah Cann
Co-Creator: Ariane Lenihan
Reviewer: Christine Stanton
“Powerful Production“
4.5 / 5
Women everywhere know the feeling of trying to avoid a dodgy bloke in a bar, the constant location scanning when walking home to stay safe, or the necessary polite, but insistent responses when repeatedly declining conversation from an all-too familiar man that won’t take no for an answer.
As stated in Susannah Cann’s brilliantly affecting production – it’s not all men, but without knowing which ones it is, it’s very hard to discern when it’s okay to let your guard down. The show is performed as a montage of individual vignettes, some devastatingly sad, some wickedly funny, allowing for some welcomed light relief between some of the more serious pieces. The balance in tone works wonderfully and the audience are drawn in immediately, with the five actors captivating portrayals of their characters. While each story stands alone and is enjoyable as a contained narrative, combined, they collectively outline the problems women face on a daily basis – from (in comparison relatively) smaller instances, to much more serious encounters. The variation between them allows all of the experiences, no matter the severity, to be recognised, with this compelling, emotive and powerful production.
Annabel Lisk opens the show with a monologue about a creep at the gym who is ‘just trying to help’ and making her feel uncomfortable in a space that should be empowering her. Lisk is bubbly and likeable, her humorously narrated thoughts as she powers through her workout are very entertaining. As the man begins to encroach on her space, her carefree persona fades, becoming skittish and hyper aware, with Lisk showing the shift in emotions remarkably well. Isobel Griffiths’ monologue is superb – focusing on a girl in a club, drunkenly trying to simultaneously find her friends, and enjoy her evening. Griffiths gives the audience a fantastic range of emotions, and the impactful end of the already gripping story leaves an intense imprint on the audience. The final longer monologue about a girl (Anna Francis) walking through an underpass on the way to work is packed with emotion, and sadly could be based on many true stories, providing a chilling end to the well-crafted production.
The other scenes are shorter and punchier, but just as powerful – there are snippets of Ariane Lenihan’s believable podcast, an insightful conversations between two sisters, and the funny horror sketch featuring Phoebe Shepherd (who gives an impeccably terrifying performance!), each of which on theme and entertaining, while never letting the message falter. A strong show, with a talented cast.
Runs until 2nd September at Jack Studio Theatre, then 3rd September at Bridge House Theatre
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