Lola is 16 and super bright. Lola has big plans. Lola has a future as bright as the interior of her bedroom. And then suddenly Lola has Glee (Glioma Multiforme) and a median life expectancy of 11.2 months. Glee & Me was the winner of the Judges prize at the 2019 Bruntwood Prize for Playwriting . Writer Stuart Slade has created something incredibly special in this portrayal of living your best life in the face of your impending death. With this kind of subject matter it is such a delicate line between creating some magical and memorable and producing misery porn… Sykes has done the former.
Director NimmoIsmail has done an exquisite job of encapsulating the spirit of the writing. Liv Hill ensures that the Lola on stage is the girl next door, the clever, capable girl at college, the daughter you worry about, the mate you’d like your own daughter to have and the bright funny girl that some of us have already seen taken by a lethal brain tumour. Liv Hill shines in this role as she navigates her way through diagnosis, surgery, treatment and hospice care. Never maudlin, she faces life or what’s left of it and makes plans for the future she has. There is a defiance in her actions but increasingly a calm when all she has is each moment in each day. We talk so casually about living in the moment but perhaps nothing quite focuses the mind than impending death.
The play is a one hander yet Hill brings life to those around her…we sense a mother struggling with losing her only child, we meet best friend Clem who helps Lola make her video blog and Rufus her student boyfriend who supports her while valiantly assisting Lola cram in a lifetimes sex into under a year…no mean feat! In short this a production teaming with life. The staging is bright with yellows and pinks while the lighting has pulsating beams that hum and crackle with energy or flash as neurons die as the tumour advances.
Glee & Me is emotive but oddly inspiring and reassuring. I found it impossible not to emerge with moist eyes but mainly it feels uplifting. We are so afraid of death and often so sad and angry when it draws close. It is easy to forget or miss that other core emotion, joy. This is a sublime piece of writing that does not ignore or minimise the fear, the sadness and the anger, but it allows a light to shine on the joy too. The joy we find in sex, in paddling on a beach, making a log fire or simply being with those we love. As Lola says having a finite amount of time…makes everything more – vivid. In the end what remains is love.
Commissioned and produced by Manchester International Festival
Exchange Auditorium, Manchester Central
The programming of this piece is incredibly timely and poignant. Grief is nothing new but grief experienced on a global scale in a digital age is new to us. Loss and Grief have enveloped us all in a choking haze for the past 18 months. This is a verbatim piece that brings to the stage Notes on Grief written by the renowned writer Chimamanda Ngozi Adichie. This essay was her response to the overwhelming loss she experienced last year on the news of the death of her beloved father, the original dada; the scholar James Nwoye Adichie. What she writes is the uniqueness of her own lived experience but running through her words are the threads that bind us all in our humanity- the knowledge that grief will take us to a dark chasm and when we emerge we are never the same again.
Michelle Asante gives a strong performance in this demanding piece of verbatim and she is supported by two other cast members who are tasked with fleshing out a range of characters including her dead father at various points on his life. Accents and mannerisms of the Nigerian family are on point but too often lines are fluffed and beats are missed. Asante is the consummate professional amidst minor errors and tech issues with lights coming on out of sync. However the overwhelming problem is they distract from the writing and give this production an am-dram feeling that is unworthy of an international festival production.
There is something jarring and clumsy in the movement sequences that do nothing to add to the production and seem at odds with the text. Adichie actually writes of her acknowledgement of the Igbo way, of the African performative playing out of grief and acknowledges that it is not for her. It seems odd that Director Rae McKen chooses to use this device to push home to the audience the level of grief…it is unnecessary when the writers words spoken aloud by Assante do all that is needed. Video sequences and projected images also allude to the sense of loss and there are moments where they work beautifully but they risk being overused and losing their potency.
Notes On Grief could have been the absolute highlight of this Festival but sadly it falls short. The emotion of the writing just does not translate to stage in this particular production…perhaps the Director was hampered by the fear many of us hold around grief and what it may do to us. Any issues are however secondary to the power of this very personal essay. Without alluding to it once, Adichie takes us through the 5 stages of grief so wonderfully explained in Grief and Grieving by Elizabeth Kubler Ross and David Kessler. We see the denial, the anger, the bargaining, the depression and in the final line, the acceptance I am writing about my father in the past tense,and I cannot believe I am writing about my father in the past tense.
Adichie reflects towards the end that her father was truly lovely. The simplicity and power of that statement is perhaps the most moving moment in the production. Sitting in the audience I could not help reflect on my own father. He too was Daddy and he too was truly lovely and has been gone now for 29 long years. Watching this play was also 2 years and 1 day on from the loss of another truly lovely man in my life. If Notes On Grief reminds us of anything it is that grief is just love with nowhere left to go. We are lucky to have loved and to have encountered people in our lives who were simply easy to love.
It’s 14 months since the Royal Exchange closed its doors on the eve of press night for Rockets and Blue Lights. Racing across St Ann’s Square to the cheers across the city as England scores in the footie, I spot the smiling faces of the theatre Comms team as they welcome everyone back to press night. There is a general feeling of goodwill and excitement in the building so undoubtedly huge pressure on Writer/Performer Lauryn Redding and Director Bryony Shanahan and the team to make this a night to remember. It’s a huge gamble to have only one performer sustain a 2 act 2 hour plus performance on the main stage and make it work, make it matter, make it memorable for the work not just as a reopening after a global pandemic…Lauryn Redding does just that. Funny, tender and raw, Bloody Elle is a rousing tale of sexual awakening with all its joy and sorrow. As Redding tells us Censoring. Of anything. Of anyone. Of yourself. Of someone else. Is exhausting and it cuts you from the inside.
Director Bryony Shanahan and Movement Director Yandass Ndlovo ensure that the performance has flow and energy and never feels like a static piece of solo story telling. The staging by Designer Amanda Stoodley dispenses with the famous banquette seats and their potential covid risks. Instead she introduces red stools and candle lit tables to create a cosy pub vibe that effectively frame the stage. This is gig theatre and a true one woman band. The original music by Redding with direction by Sound Director Alexandra Faye Braithwaite is great and drives the narrative but also creates a swirling soundscape to add mood and shade to the story telling.
The multi levelled stage aids the introduction of characters and scenes including Elle’s high rise council flat in Cloud Rise and is splashed with what seems to be a bucket of white wash? This picks up the bursts of coloured light that flood the stage or envelop Redding. The white wash effect also seems to reflect the way we can paint out aspects of ourselves or let others not see our true colours, to continue to not see the whole of us, the truth of what and who we may be if we own our own story. Corny perhaps but I wish Redding was flooded with glorious rainbow colours as she look her well deserved second curtain call.
The story is a simple story of girl meets girl. There is a division of class and aspirations when working class Elle meets posh Eve with guacamole green eyes on route to a medical degree at Oxford University. They bond over vinyl records and work at Chips and Dips despite their differences – Eve has a pony in a paddock whereas Elle has Big Sally on the 12th floor. The driving force of this narrative is less about class, it zeroes in on the agony and ecstacy of first love and how this is still intensified by the difficulties for many of coming to terms with your sexuality and being accepted for who you are and how you love.
This is a show that might not have been seen at the Royal Exchange without the global pandemic. Redding would probably been too busy working to create this show and a solo gig theatre performance might not have been an obvious choice for this theatre. It probably needed ten years of growing and healing for Redding to be ready to tell such a personal story. There is a vivid whip sharp authenticity to this performance. Insouciant banter with the audience, poignant and emotional song writing, raw, vivid storytelling filled with poetic observations…Bloody Elle ticks every box and more. Kintsugi is the Japanese art of rebuilding what is broken or damaged using gold to create something stronger and even more beautiful. Redding has taken her broken heart and using her artistic talent as Kintsugi – the result is the threads of gold running through this gorgeous show. Hopefully as we navigate the new normal of Covid-19, the Royal Exchange is also emerging with new seams of gold too.
From the moment the spoken intro distorts into static and alien green beams swirl out across the audience, it is clear the mothership has landed. HOME is now host to the lovable alien glitter gods Bourgeois and Maurice. All brittle deadpan delivery and bored insouciance the delightful duo open with a cheery ditty Brink of Extinction reminding their audience things are not great on Earth, while also informing us that with their assistance and the aircon pumping out Poppers…well we might just be okay.
It is quickly evident why this dastardly duo secured the first T1 Commission to create a new piece of work for the main stage at HOME. Witty fast paced lyrics and double entendres ricochet like alien laser beams as they stride around a tinfoil stage as though on a Parisian runway. Writers and performers George Heyworth and Liv Morris have their audience in the palms of their exquisitely manicured hands and we are going on the ride of our lives as we are pulled back 1500 hundred years before Homer wrote The Iliad to the oldest written story The Epic of Gilgamesh.
Michael Hankin has designed a set that blends all the enthusiasm for arts and crafts of 1970s Blue Peter with traces of a set from The Mighty Boosh or an Austin Powers movie. The overall effect is a full on riot of colour and glitz that works surprisingly well. Accommodating a cast of eight plus all their musical instruments and a most unlikely throne, there is thankfully still space on stage for singing, dancing, fighting, fucking and brain sucking.
Despite being a long established double act who take no prisoners there is a real generosity in this production and the writing allows the rest of the cast to glitter every bit as brightly as the dynamic duo themselves. A definite surprise hit is LockieChapman as Gilganesh, he absolutely owns his onstage kingdom and provides a mighty vocal talent. His big ballad Don’t Want to Get Old is simply beautiful; incredibly moving lyrics delivered with a poignant depth of emotion. The comic timing with his opponent/bedfellow Enkidu is as electrifying as the sparks crackling from the elegant talons of the alien gods. Kayed Mohamed-Mason charms with his forest innocence but quickly ramps up the mischief after his raunchy encounters with the high priestess Shamhat. Emer Dineen has the natural talent to steal every scene she features in. A gorgeous bluesy vocal is accompanied by easy charm and deft comic expressions that captivate.
This is a fast paced musical that unapologetically steals from popular culture whether by an impish note from an Amazon delivery or a bed scene that could be from Morecambe and Wise or The Odd Couple. There are some weak points in the storyline and the first act ideally could end on the absolute high of the sublime anthem Gay for You. However by the end it’s hard to remember these points as the infectious joy of the show threatens to overwhelm even the Poppers in the atmosphere. Director Phillip McMahon of Thisispopbaby has given the whole production an extra layer of gloss and sequins. The songs are witty, pithy and socially relevant and are delivered with gusto by the whole cast. With a little editing and careful maintenance of the tinfoil budget this is a musical that could run and run.
With this week seeing the incarceration of Harvey Weinstein, this is a timely revival of James Fritz’s clever and insightful four hander. Four Minutes Twelve Seconds explores the darker aspects of the internet as this play takes a family down the rabbit hole of sexting, fake news and private forums. An act lasting four minutes will rupture trust and strain moral boundaries in a close family. Under the sensitive and empathic direction of Chris Lawson and Natasha Harrison this production is a genuine psychological thriller that gets under your skin and challenges its audience to consider our own views on morality, class and parenting in this digital age.
Di and David are the parents of a 17 year old boy who is on track for exam results that will get him out of Oldham and into University. After a violent attack from the brother of his girlfriend Cara, Jack’s parents are forced to face up to the consequences of a sex tape their son has made. Leaked unto the internet it tells a damning story depending on what the viewer chooses to see. Is this revenge porn, a terrible judgement error or possibly something even more dreadful? This is a truly fascinating insight into the cognitive dissonance that subverts our perception of truth when our minds cannot always accept the information we see before us.
The slick white set is modern and middle class with the few splashes of colour provided by fresh flowers and Hunter wellies. Designer Anna Reid has created something crisp and beautiful that allows for nowhere to hide. The reflective panels add to the feeling of this family being utterly exposed and continually finding their perception of reality and truth shift as they uncover more real and fake facts about those fatal four minutes. The lighting design and slashes of sound add to the growing sense of family normality being repeatedly tipped into a nightmarish vortex. This feeling is further enhanced by the movement direction employed by Natasha Harrison which sees Di and David (Jo Mousely and Lee Toomes) literally tipped over the edge as new information jolts their middle class contentment.
The cast all give strong and utterly believable performances. Jo Mousely is a powerhouse of emotion as feisty mum Di who is initially like a lioness out to protect her cub at all costs. As events unfold she is strained to breaking point, utterly at sea as her moral compass fluctuates and she contemplates the unimaginable. Lee Toomes as husband David appears pragmatic if somewhat ineffectual as he tries to steer his family through choppy waters. Calm and apparently likeable, Toomes delivers a performance that continually surprises with some punchy shifts of light and shade. The working class Cara (AlyceLiburd) and school friend Nick (Noah Olaoye) both give gently nuanced performances that add real depth. Liburd shows not an ounce of self pity is shown here, instead there is a blunt acceptance that accent and class will impact how her story is heard and believed. As “Thick Nick” Olaoye beautifully illustrates that morality and brains certainly do not always go hand in hand.
This production is genuinely exciting and thought provoking on so many levels. Beautifully staged and directed with strong performances, this is the undeniable proof that regional theatres may be short on finances but are certainly not short on talent and vision.
This brand new production brings together two powerhouse companies each with a unique reputation for creating challenging and provocative high calibre work. In a world with a rapidly growing population and a society where homelessness has somehow become a norm in our cities, a little space explores what space and home means. It might be something we treasure and nurture, or something we crave and dream off, or perhaps it is something to fear. An oasis, a vacuum, a suffocating space to escape from or a mental space to just breathe in.
There are all the trademark elements of Gecko in the precision and intricate details within this production as they balance the banal and the utterly weird and wonderful. The performances from Mind The Gap add another vibrant dimension by utterly embracing the weirdness and otherness while also celebrating the ordinary and the mudane elements of just inhabiting our own space.
The five performers from Mind The Gap are utterly committed to their space on stage. Compellingly owning their physical space as this apartment block mutates from space to space, as light blurs and blends from dim and ominous green to rosy hue, as the soundscape incorporates church bells, birdsong or the terrifying beep of life support machines. There is a real magical aura as floorboards shift to create outdoor grass and daisies, performers disappear through trapdoor and rugs are pulled from under foot and one performer is literally weighed down by the weight of their apartment.
Engaging and provocative this is a production that goes straight to the heart of its subject matter. The tubular structure of the set is both reassuringly solid and secure yet playfully could equally suggest the bars of a prison. As the performers shine torches out into the audience there is a clear message about inclusion and exclusion, solitude or loneliness – how does it feel to be alone? A couple in one apartment are utterly alone yet together. He seeks escape and companionship in the flickering television while she is left out, alone and frustrated. Are the soap operas on tv becoming our guide or model for how to live in our space? An incisive scene blurs the lines between what happens on screen, on stage and in the audience perception. Multiple lightboxes portray many lives lived in many similar homes. On stage and in the audience we are all voyeurs seeking our best means to exist within our own little space.
This new adaptation of Emily Bronte’s WutheringHeights creates an exciting theatrical opportunity to explore the moors and their doomed inhabitants in the round of the Royal Exchange. Would Director Bryony Shanahan and writer Andy Sheridan perhaps place a modern day damaged and doomed Heathcliff and Cathy up on Saddleworth Moors with a despairing school attendance officer? Might they be recognised as probably suffering from impulse control disorder, ADHD, Borderline Personality Disorder and possibly anorexia? This fresh take instead seeks to move between mining a comedic vein that borders into laugh out loud farce while equally revering the beauty of Emily’s poetry. Sadly the real emotional depth in this production is only really there when it glories in showcasing Bronte’s poetry with a dreamy soundscape by Alexandra Faye Braithwaite. The end result is disjointed in terms of character development so it feels impossible to believe in the innate complexity of these wild, unbridled creatures of nature and their tumultuous relationship.
There is a serious issue with the chemistry between Rakhee Sharma as Cathy and Alex Austin as Heathcliff. It is actually the mood established by the lighting and the musical accompaniment that drives and creates emotional depth and potency in this relationship. The rest is simply swagger, spits and hisses punctuated by glib swearing or beautiful and passionate speeches spoken eloquently but petulantly when they need to resonate with raw passion. There is a wonderful gawky awkwardness that Alex Austin brings to the young Heathcliff but too often his characterisation slips into glib gangster menace rather than wild, embittered and wounded soul. Sharma as Cathy is wild and feisty but often too shouty and pouty to truly convey the raw unfettered soul that Emily Bronte envisaged. I wanted to revel in her complexity but found myself just wishing she would calm down and not spoil the glorious sound of musicians Becky Wilkie and Sophie Galpin. At key moments my eyes were drawn to the impassioned face of Wilkie and sadly not that of Rakhee Sharma. David Crellin as Earnshaw brings warmth and humanity with a performance that is rich and complex.
In her first production as Co- Artistic Director at the Royal Exchange Bryony Shanahan brings a lot of energy and movement to the production that at times creates a real sense of the wild moors and their freedom from the constraints of societal norms as the characters run free. There is a genuine pathos as Cathy struggles with letting go of childhood freedoms to be a mother and a wife. Creating magic and mayhem this is a Cathy that is perhaps closer to the weird sisters in the recent Macbeth at the Royal Exchange than the weird sisters at Haworth Parsonage. The casual cruelty shown by all the main protagonists is brutal and brutish, and perhaps this explains the decision to play so many key scenes for laughs. Moments such as when Heathcliff and Cathy are once more together on the moors struggle with the emotional depth of a key scene being undercut by Isabella raising laughs as she comically clambering over the rocky landscape. The humour does offset the darkness but sometimes this is at the expense of driving the plot forward in a believable manner.
The use of light shards works really well and designer Zoe Spurr has created a really painterly effect on mood and landscape. The set design is however more problematic with its messy blend of heath and hearth. The barren tree is beautiful as is the design allowing characters to depart this world or spy on others. The floor space however resembles a post apocalyptic golf course and has a playmobil feel rather than a naturalistic landscape. Overall this production may be as divisive in its execution and reception as the original book was when first received by its readers!
A Told by an Idiot and Theatre Royal Plymouth production
Told by an Idiot celebrate the golden age of silent cinema so unsurprisingly it is punctuated by the sounds of a drum kit, a piano, a hotel service bell and some hip hop clog dancing! Writer and Director Paul Hunter pinpoints an actual moment in history when Charlie Chaplin and Stan Laurel board a ship to America. It’s 1910 and as part of the slapstick troupe Fred Karno’s Army, the two men are on their way to become an worldwide cinema icon and one half of the most famous and beloved comedy duo ever. This is no satisfyingly chronological comedic biography but instead Hunter intermingles fragments both real and imagined to pay a kaleidoscopic homage to two comedy greats.
The multidimensional aspect of the stage evoke the SS Cairnrona both above and below decks, while also functioning as a hotel, a Victorian madhouse and a cinema stage. Designer Ioana Curelea brings an energy and flamboyance to the design that strongly echoes Kneehigh Theatre productions. She gives the performers a playground to showcase their very physical portrayals of Chaplin and duo Laurel and Hardy that is delightful and highly effective.
The eloquence of the silent performances is how they zero in on the story telling in the facial expressions and the minute movements of the body. In this Amalia Vitale excels with a performance that is off the scale in whimical charm and is razor sharp in its delicate and precise interpretation of Chaplin. She combines slapstick comedy with balletic grace while also interacting with the audience with flair and confidence. Nick Haverson takes on multiple roles including the cigar chomping impresario Fred Karno and with the aid of a cushion and a duct tape moustache he uncannily morphs into Oliver Hardy. His performances coupled with his percussion skills add richness and depth to this madcap trip through the decades. Sara Alexander does a great job of keeping the story moving musically while her facial expressions tell so much of the narrative. Jerone Marsh-Reid as Stan Laurel is full of gawky charm and has a certain ingénue quality. There is a lot to enjoy in his performance yet it feels like the essence of Laurel is rarely seen. This is a theatre company that declares itself disinterested in creating reality and is more engaged in provoking and entertaining while actively engaging the audience. Yet somehow this jars slightly with this performance alongside such uncanny personifications of Chaplin and Hardy.
The Strange Tale of Charlie Chaplin and Stan Laurel is a really pleasurable theatrical experience and the use of audience members onstage is handled deftly. The fragmented moments capture births, deaths, success and disappointment and a poignant glimpse into a golden age that set the benchmark in slapstick comedy and absurdism in theatre and film. There are scenes that could be briefer without losing impact, and for some the random nature of these snapshots of the two men may be confusing, however overall this is a real joy to watch.
Trips to The British Library to explore the Aarne index of folktales from around the globe as Suzanne Andrade sought out appropriate tales for 1927 resulted in a big friends and family get together over a vat of Irish stew in a snow storm. The outcome is ROOTS, a hotchpotch of vivid, quirky tales told using the 1927 trademark blend of animation, performers and musicians. As we prepare to leave Europe this rich tapestry of interwoven tales showcases the power of storytelling as a universal medium to unite us all. Folktales have always morphed and mutated as they weave around the globe and with ROOTS this magic continues with an accompanying visual and musical feast.
This bakers dozen are not clean cut or a cohesive illustration of a particular theme such as those approached by Italo Calvino or Angela Carter. Instead they revel in being a splatter fest of the dark, the peculiar and downright odd. A Fat Cat is a tale of epic consumerism where puss systematically eats the world, pausing only to barf up a schoolboy’s scabs and a world leader’s toupee! Elsewhere a genitally blessed king seeks a bride without a domineering will of her own, while in Two Fish parents kill their child in the misguided hope of acquiring a third fish. In the delightfully whimsical An Ant found a penny, a beatnik French ant honeymoons in The Orkneys before her world implodes from a traumatic event involving a pot of stew.
As with all 1927 productions the animation and film by Paul Barritt looks wonderful whether as minimalist black and white or the psychedelic landscape of Snake or the absinthe green tinged The Luckless Man. Performers pop up through hinged windows in the screen bringing 3D to the animations, musicians gain angel wings just as the animated fat cat ascends to heaven…every tiny whimsical detail is utilised and luxuriated in. In The Magic Bird layers of detail create a Punch and Judy aspect to a couples murderous, greedy squabbles. The costumes, make up and music all combine to give this production a real world flavour from Parisien ants to Mexican Day of The Dead horse heads in Alonso and the Ogre and the rich earthy African tone of Snake.
The tales are darkly comic and often violent with witty current references all told in a very naturalistic manner by non professionals. This madcap cluster of tales are weirdly mesmerising and totally engrossing.
I was blown away by I’m a Phoenix, Bitch when I saw it at Edinburgh Fringe in August. Like many of the audience I literally staggered out of that performance like someone had literally tilted my world and walked me through the dark side of a nightmare reality. Thankfully Bryony Kimmings is acutely mindful of her safety and that of her audience. This is a safe space and “new Bryony” has plenty of tools for any possible apocalyptic scenario. It’s time to find the little anchors and rafts that exist amongst all this chaos that will help you…in the future.
This is an autobiographical performance by an artist who has never shied away from painful, personal subject matter. Shows like Sex Idiot, 7 Day Drunk and Fake It ‘Til You Make It have firmly established Kimmings as an important artist. This show explores her experiences in 2015 when she lost her partner, her home, her sanity and almost lost her baby son. The show is structured around her subsequent experience of a Psychotherapy technique called “rewinding” used to help clients confront and deal with past traumas. Using micro sets on stage that recreate various scenarios, Kimmings films herself and these projections cleverly recreate how the mind can be trapped in a memory or experience, and how observing it again can help gain emotional perspective to cope with trauma.
As a self styled “Psychotherapy movie star” Kimmings embraces elements of camp horror schtick, brooding black and white Hitchcock and vivid Lynchian dystopias as she plays out a range of rewinds. We meet the breakfast nymph complete with a full English and the requisite vicious metal man trap. We see a girlish Bryony playing house as she plays out the fairytale complete with miniature Oxfordshire cottage with wisteria on the outside and lashings of Farrow and Bell on the inside. There is a high achieving Mum-to-be in billowing kaftan bingeing on NCT classes and natural childbirth. As each scene is unveiled Kimmings is transformed with wigs and makeup while in between there is a sharp contrast as the new Bryony breaks the fourth wall red haired and clad in black gym clothes. This Bryony makes recordings for her son Frank in the hope he will understand their journey whilst also battling a harsh leaking, creeping inner monologue that frequently attempts to derail her hard fought for sanity and confidence as a mother.
Visually this production is both bleak and yet utterly gorgeous. This is dark subject matter but Kimmings has a lightness of touch and a real natural warmth that is always engaging. The projections give this show a magical realism especially when she steps into the projection itself. The utter poignancy of a grief crazed mother frantically burying the unbearable reminders of the future she had imagined for her child seem not crazy or remotely like giving up on her son. Like a Phoenix this is a mother preparing to be a mother to a “new” baby Frank.
This is a harrowing journey into post-partum psychosis, PSTD, and a parent’s nightmare experience of seeing their baby become critically ill with a cruel and damaging health condition. This is no blissed out paradise model and there is no happy ending to this story but there is a statement of hope to sustain us all in the real world. This is an important performance to witness as what audience members hopefully take away is a permission to see psychotherapy or counselling as an option to support them if ever confronted with their own personal apocalypse. Bryony can now see her horrific experiences in 2015 as just bad luck. Her fears for her baby did not make anything bad happen. Many parents fear for their children as a natural built in instinct for their survival, in post-partum psychosis those fears are hideously magnified. We can all prepare for the worst. For Bryony her fears were realised but thankfully she has risen like a Phoenix and although battle scared, both her and her loved ones have survived.