Tag Archives: Melanie Wilson

WHEN IT HAPPENS TO YOU

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Park Theatre

WHEN IT HAPPENS TO YOU at Park Theatre

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“sensitively scripted and staged”

When novelist Tawni O’Dell’s daughter was raped, her first instinct was not to write about it. Only through a one-off session with a psychiatrist was the seed planted that perhaps, after a career of writing fiction, writing something based on her own experience might help to process the event. The result is When It Happens to You, a play that details a family’s experience dealing with trauma, not as a family drama, but more as an extended monologue. Each perspective is told first hand, with only rare moments played out in representative scenes for the audience, the transition between introspection and dramatisation indicated by subtle lighting cues against a simple representation of the New York City skyline (Sherry Coenen).

The play uses the rape – as the title suggests – as something that happened. Amanda Abbington plays Tara, representing Tawni O’Dell who played herself in the original Off-Broadway staging. Abbington talks about it as an event that happened in the past, matter of factly, in the past tense. This is exemplified early on with a repeated refrain to set the scene: β€œthe night my daughter was raped…”. The drama of the piece unfolds in the aftermath, showing how, in the words of Tara, the event metastasizes to become the most significant event in her daughter Esme’s life, despite her protestations. As a result, the event permanently alters the mind and relationships of Esme, her mother and brother, Connor.

Despite the grim subject matter the piece doesn’t feel too heavy or overplayed. If anything, moments of cognitive dissonance between how Tara thinks and how she acts create humour, easing the audience in with the juxtaposition of a horrifying 3am phone call and the mundanity of looking for a missing cat. Later, in her one visit to a β€˜shrink’ he incisively points out that she uses humour to hide her pain.

Performances are strong all round. Whilst the piece is primarily told to the audience from Tara’s perspective, Director Jez Bond keeps the cast on stage throughout, reacting in character to Tara, with each of her children having a moment to address the audience directly.

When people talk about Esme (Rosie Day), they express worry, frustration and pain. But when Day addresses the audience, she expresses hope found in the colour yellow. Miles Molan as β€˜the little prince’ and scientific genius Connor doesn’t skirt around the issue in his monologue, with a frankly rational yet incisive observation that it’s not just the wound of the attack that plagues Esme, but the additional fear of becoming a social pariah when people find out what happened to her. Tok Stephen’s impact belies his rather limited stage time, playing all other male roles with finesse, adeptly switching between a hardened New York detective, a Tony-winning love interest of Tara, and a $300-per-hour psychiatrist.

Slight inconsistencies in plot and performance can be excused given the powerful nature of the piece with its intimate portrayal of a family in crisis. Whilst the narrative is strong for its specificity, it equally finds strength in being a statistically widespread experience. 1 in 4 women have experienced rape or sexual assault. A staggering statistic, confirmed by Rape Crisis England & Wales, that makes this sensitively scripted and staged piece one to watch.

 


WHEN IT HAPPENS TO YOU at Park Theatre

Reviewed on 6th August 2024

by Amber Woodward

Photography by Mark Douet

 

 

 

 

 

Previously reviewed at this venue:

THE MARILYN CONSPIRACY | β˜…β˜…β˜…β˜… | June 2024
IVO GRAHAM: CAROUSEL | β˜…β˜…β˜…β˜… | June 2024
A SINGLE MAN | β˜…β˜…β˜…β˜… | May 2024
SUN BEAR | β˜…β˜…β˜… | April 2024
HIDE AND SEEK | β˜…β˜…β˜…β˜… | March 2024
COWBOYS AND LESBIANS | β˜…β˜…β˜…β˜… | February 2024
HIR | β˜…β˜…β˜…β˜… | February 2024
LEAVES OF GLASS | β˜…β˜…β˜…β˜… | January 2024
KIM’S CONVENIENCE | β˜…β˜…β˜…β˜… | January 2024
21 ROUND FOR CHRISTMAS | β˜…β˜…β˜…β˜… | December 2023
THE TIME MACHINE – A COMEDY | β˜…β˜…β˜…β˜… | December 2023
IKARIA | β˜…β˜…β˜…β˜… | November 2023

WHEN IT HAPPENS

WHEN IT HAPPENS

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THE SHAPE OF PAIN

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Wilton’s Music Hall

The Shape of the Pain

The Shape of the Pain

Wilton’s Music Hall

Reviewed – 19th March 2019

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“It is a piece about love and pain. And understanding. And it is extraordinary.”

 

The Shape of the Pain was developed by Rachel Bagshaw and Chris Thorpe as a theatrical exploration of Rachel’s experience of living with Complex Regional Pain Syndrome – a neuropathic condition that causes constant chronic pain. As the performer articulates in the opening moments of the piece: β€˜[It] is an experiment. In how we talk about pain. If we can ever talk about it in a way someone else can understand.’ The piece is also about love; specifically about this woman’s experience of falling in love, and of being in love. It is a piece about love and pain. And understanding. And it is extraordinary.

The elements of the show are simple: one performer, a curve of dark grey metals joined edge to edge onto which text, light and occasional monochrome images are projected, and a soundscape. The piece runs at seventy minutes, and it is a testament to the performer Hannah McPake’s exceptional skill that time passes in a moment, and we are released back into the world after what seems like an extended breath – in some way subtly changed, as if we had been taken apart and reassembled.

Chris Thorpe’s writing is magnificent, swooping as it does between lyricism, abstraction, disintegration and the concrete. It is just devastatingly good. The poetry is everywhere. In angry lists. In everyday observations. And in metaphorical flights of fancy. It is also a hymn to the word β€˜fuck’, in all its splendid incarnations.

The writing and the performance operate within an intricate web of light and sound. Melanie Wilson’s textured soundscape is stunning, and Joshua Pharo’s spare video and lighting design is another essential part of this intense and darkly dazzling piece of theatre.

Works of art which endure seem always to have the ability simultaneously to address specific experience and yet encompass the universal. The Shape of the Pain belongs with these. It leaves you with a greater understanding of this rare and complex condition, but also with fresh insight into what it is to be human. It is a rare privilege to see work of this calibre. Go.

 

Reviewed by Rebecca Crankshaw

Photography courtesy China Plate

 


The Shape of the Pain

Wilton’s Music Hall until 23rd March

 

Previously reviewed at this venue:
Songs For Nobodies | β˜…β˜…β˜…β˜… | March 2018
A Midsummer Night’s Dream | β˜…β˜…β˜…Β½ | June 2018
Sancho – An act of Remembrance | β˜…β˜…β˜…β˜…β˜… | June 2018
Twelfth Night | β˜…β˜…β˜… | September 2018
Dietrich – Natural Duty | β˜…β˜…β˜…β˜… | November 2018
The Box of Delights | β˜…β˜…β˜…β˜… | December 2018
Dad’s Army Radio Hour | β˜…β˜…β˜…β˜… | January 2019
The Good, The Bad And The Fifty | β˜…β˜…β˜…β˜… | February 2019
The Pirates Of Penzance | β˜…β˜…β˜…β˜… | February 2019

 

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