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An autobiographical musical depicting depression from an honest place.Summary
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Mark Glentworth takes the stage to thunderous applause, a celebrated composer known for the iconic “Blues for Gilbert.” This piece, now the most performed, recorded, and studied solo tuned percussion work of all time, establishes him as a gifted performer with a promising future. However, little does he know that external forces beyond his control are poised to engulf the fruits of his hard work in flames.
The strength of the play lies in its courageous portrayal of Mark’s battle with depression, a central and formidable character in its own right. For seven and a half years, Mark confronts this silent adversary—six months within the confines of a psychiatric unit and seven years as a self-imposed prisoner in his own home, sustaining on a meager daily sandwich from the corner shop. The play captures the essence of depression with unflinching honesty, depicting the toll it takes on sleep, nutrition, and social interactions, resonating deeply with those who have faced similar struggles or witnessed the impact on loved ones.
In its exploration of mental health, the production draws parallels to real-life experiences, echoing the sentiments of those who have felt the suffocating weight of depression. The portrayal is a stark reminder of the hidden battles that real individuals face, offering a necessary and timely contribution to the dialogue surrounding mental health. It evokes memories of Ari Aster’s recent film, “Beau is Afraid,” particularly in its portrayal of a man grappling with fear and survival even during routine trips to the corner shop.
Despite these commendable aspects, the production faces challenges in maintaining a consistent emotional tone. Glentworth’s compelling vocals contrast with a physical performance that lacks expressiveness, occasionally dampening the overall impact. The direction from Julia Stubbs, while sincere, could benefit from more finesse to enhance the immersive experience.
In terms of design, both the set and lighting fall short of fully complementing the narrative. The transitions between musical numbers and storytelling segments need refinement to avoid abrupt shifts that disrupt the narrative flow.
While the play showcases powerful songs like “Welcome to the Unit” and “The Cornershop” there is room for improvement at its core. The real-life struggles depicted on stage deserve a nuanced exploration of emotional peaks and valleys to fully engage the audience in Glentworth’s journey.
This musical stands as a courageous portrayal of a real person’s battle with depression, shedding light on a topic often shrouded in stigma. With a more refined approach to pacing, physicality, and design elements, it has the potential to offer a transformative and emotionally resonant experience, allowing audiences to connect more deeply with Glentworth’s struggles.
Written & performed by Mark Glentworth
Directed by Julia Stubbs
Seven and a half years plays at Etcetera Theatre until 30 December. Further information can be found here.
