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Once it hits its stride, Bedbug offers a clever, intriguing and deceptive portrayal of a woman struggling with her depression. Summary
Rating
Good
I’m always a little wary of shows about depression. As someone who has fought with my own black dog for much of my life, I am probably a little more critical of plays that portray it than I should be! But I’m sure we all do it; watch with a slightly keener eye when the story revolves around something you know just a little too well.
Thankfully, writer Justin Hopper seems to know his subject equally well, suggesting perhaps he has his own battle scars. In Bedbug, his depiction of a woman struggling with depression has plenty of little touches that will be all too familiar for those of us who have seen it first hand. The inability to do even the most basic of things, such as pick up rubbish from the floor; having no energy to prepare a meal beyond the most basic (toast and cereal make a big part of my own diet when things are bad); not wanting to talk to anyone, and definitely not answering the phone, are all classic symptoms. And our sufferer, Sally, displays them all.
But before we get to witness Sally’s spiral into a depressive state, there’s a first half to get through that really needs to be cut back. It is way too slow, and there’s a full 55 minutes of it, used to set the scene ready for what’s to come after the interval, but truthfully it could be condensed down massively to ensure the audience aren’t lost before you’ve reached the heart of the play. The opening scene as Sally and boyfriend Ben (Kayley Rainton and Greg Snowden) play Scrabble seems to be there wholly to allow Sally to mention meeting a vagrant called Wise Man. But it’s not needed: cut it out, no one would notice. The whole script requires a sharp knife taken to it, reducing it down to no more than 70 minutes.
Provided you can fight your way through the overlong set up, Bedbug does finally reward your patience. Sally, having taken pity on Wise Man, invites him to her home out of the rain. Except once she has let him in, he has no intention of leaving ever again. Slowly he takes control of her, isolating her from everyone and not letting her leave her room. He whittles away at her brittle confidence, convincing her she is worthless and full of malice, using her diaries filled with her deepest and most private thoughts as weapons against her to make her do his bidding. Finally, this allows us to see Sally’s deep dive into her depression and the effects it has, not just on her but those around her.
Patrick Knox gives a superb, show stealing turn as the sinister Wise Man. First appearing as weak and helpless, he quickly gains strength as he drains it from Sally. And then as Sally’s battle with her inner demons turns in her favour, he reverts to that pathetic mess we originally saw.
Constance Comparot’s set also deserves a mention, turning the usually black box surround of Drayton Arms Theatre into a rather generic bedsit, shelves ladened with books and a single window to look out onto the world, and let the light in. It’s always lovely to see such a clever set when we know the budget is probably less than a pint of beer from downstairs in the bar.
Bedbug takes a while to get to where it wants to be, but once it does, it becomes a very interesting and worthwhile take on how we fight our depression, and the toxicity it creates in our minds. This would make a brilliant 70-minute show with just a little reworking.
Written by: Justin Hooper
Directed by: Gavin David Dent
Produced by: Steve Davis for Compulsive Theatre
Stage and costume design by: Constance Comparot
Lighting and sound design by: Andy Straw
Bedbug plays at Drayton Arms Theatre until 22 June. Further information and bookings available here.
