Woman in Mind

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a dazzling, provocative evening... which is both hilariously inventive and demonic" - Sunday Telegraph She is also no saint. Remember that everything we see is her version. Ideally - in theory if not in practice (God forbid) - every time Susan blinks the lights should dip. We get her version of events from square one. Being the only version we're offered we should tend to trust her. After all, she is the central character. She should know what she's doing. Shouldn't she? Brilliant designer Les Brotherston has created an amazing set spreading right across the stage and beyond, with lawn, flower beds, walls and steps so solid and sturdy they seem to have been there forever, all enhanced superbly by Mark Henderson’s lighting with sound and video by Simon Baker. The whole is so effective that is seems we are there with them in the garden as day turns to night and a raging thunderstorm reflects the chaos in Susan’s mind. Because of the nature of this particular play, it is likely that some members of the audience will stop laughing before the others do. Generally, the women stopped earlier on!

Susan, a middle aged housewife, lives a drab, disappointed existence. Ignored by her husband, disowned by her son, she survives by conjuring up an imaginary family with whom she can live out her dreams. But when the strain gets too much, fantasy and reality start to collide in an increasingly absurd and comic sequence of events. The woman is Susan; neglected by her insensitive, loud-mouthed husband Gerald and rejected by their only son, the poor woman feels useless and hopeless. Is it surprising that she invents an ideal loving family with an enviable lifestyle and a dwelling with vast grounds compete with lake, tennis courts and swimming pool. This new family become reality to her, so real that they actually appear surrounding her with love and acclaim, a different world for her to escape her unhappy life. For a long time she is between the two worlds, but gradually they intertwine, sometimes confusingly but eventually, and tragically, the imaginary world takes over and refuses to leave. Susan was probably closer to a portrait of my mother in some ways, though it would be dangerous to say she was solely based on my mother. But the relationship with her husband Gerald had echoes of her own relationship with her bank manager husband. Never a good idea to marry someone solely for the good of the child which I believe she did. It usually ends in unhappiness for all concerned.

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Comedy and tragedy work closely together and here it is mainly provided by Gerald’s sister Muriel (Stephanie Jacob). Her attitude and resentful ‘put upon’ demeanour are a joy to watch as she stomps on and off stage. Recently widowed, she is now living with them and has brought along her husband’s spirit, sure that he will appear to her one day. If he remembers her ‘surprise omelette’, he will probably keep well clear. It could be that which finished him off. There is a lovely, understated comedy in Matthew Cottle’s doctor Bill, although a little too much time was spent on ‘entertaining’ an invisible child with a handkerchief mouse. At the time of going to press a high wall of secrecy surrounds this project. Some have the theory that the reason for this is to protect such highly original comic material from the risk of plagiarism. Others, more cynical, suggest that it could be due to the fact that the author hasn't started on it yet and is anxious not to commit himself. What does the 'incomprehensible' language Susan hears in the first scene and speaks in the final scene mean? However, next to her fictional family, they are saints, as the trio, doting husband, Andy (Steve Burt), irrepressible brother Tony (Ben Tanner) and perfect daughter, Lucy (Kirsty Terry) lead us all into a darker, disturbing world.

As Susan, Sally Hartley gives one of the most astonishing performances in local theatre it has ever been my pleasure to witness. Measured, believable, truthful, both vulnerable and strong and utterly convincing. Sally Hartley steals the show with an epic performance as the protagonist Susan. Running through a gamut of emotions and on stage throughout, she shows great psychological depth as she handles this poignant and harrowing mental breakdown. She is well supported by confident newcomers, namely Steve Burt (Andy) and Ben Tanner (Tony) taking the roles of her imaginary family members with Kirsty Terry as her sweet devoted daughter Lucy. The grim reality is very different: husband Gerald (clergyman's son Paul Toy) is a self-obsessed priggish vicar, always in another room writing his interminably dull, interminably long parish history since 1387. They have reached the separate bed stage already.

Only this isn’t Susan’s real family. It is wish-fulfilment in the form of hallucination, the creation of a prettier home life where she is richer, smarter, and more loved by those around her. It is Susan’s reaction to a banal real-life home that is a terrifying amplification of many of the classic concerns of Middle England, complete with a loveless marriage and a son that no longer speaks to her. As Lucy tries to comfort her, it becomes obvious that Susan’s Family draw their own lives from Susan’s experiences. Confused by all that is happening, Susan tells Lucy to go away and confronts Gerald about their relationship. He walks away from her and Andy appears; Susan futilely telling him to go away, leading to a disturbing confrontation in which it becomes unclear who is controlling who in Susan’s mind. Andy departs, leaving Susan shaken but convinced that she has rid herself of the Family. If you happened to have hurt a lady through thoughtless word, action, or inaction, and you would like to explain yourself, but do not know her mind, you must know that your approach, necessarily, depends greatly upon what you did or said that was so disruptive. Andy, Susan's imaginary husband, handsome, devoted, master cook, and everything missing from Gerald;

Hair growing, hens? Goosey? Gandy? Chair old? Hair shone? Tone show, fleas. Fleas, tone show. December bee? Choose ‘un. December choosey. December bee? December bee? There is plenty of enjoyment to be had from this moving production as the accomplished cast unravel Susan’s torment and appear to be talking nonsense! The chances of being forgiven by a woman lessens if you wronged her or humiliated her deeply. She may shut you out. Gerald, Susan's real husband, a vicar whose interest in his wife has long since faded in favour of his book and undivided attention to his sister;Contrasting Susan's own family are three imaginary characters, existing only in Susan's mind (and therefore visible to the audience):

The simple set and spot-on lighting and sound complete the picture. This is a story told not in words, but visually and Bench Theatre nailed every element. Tremendous theatre! Helen Mirren appeared as Susan in a 1992 production at the Tiffany Theatre in Los Angeles. [6] 2008–2009 revival [ edit ] The central character in Woman in Mind is, of course, Susan. She is a housewife who, in reality, is neglected by her husband, patronised by her sister-in-law, and estranged from her son. In her own imaginary world, by contrast, she is happy, successful, and loved by her perfect family. Susan remains on-stage throughout the play, and everything seen and heard on stage is what is seen and heard by Susan, both real and imagined. It’s important to emphasise that Susan must always appear quite ordinary. It's a difficult quality sometimes for an actress to catch. Most people who want to act are quite extraordinary!. We should never get the feeling - what's this remarkable woman doing putting up with all this? Cast: Janie Dee, Perdita Avery, Stuart Fox, Bill Champion, Joanna David, Dominic Hecht, Paul Kemp, Martin ParrIf after forgiving you she acts uncaring toward you, it shows that she looks at the bad experiences as a painful one. You may keep this in mind and give her space and be as amicable you are able. A woman is more likely to forgive someone slowly while seeing how the offender behaves in the longer run. Many ladies approach happenings on an intuitive level, through emotional channels and try to understand the intents rather than trusting in the words alone (or at all). [3] X Research source