Review: All the Worst Parts, Baron’s Court Theatre

All the Worst Parts marks Sabrina Simohamed’s debut performance at Barons Court Theatre, and what a feat for that to be a one-woman show; a final year student at the Royal Central School of Speech and Drama, her training is evident throughout the production. 

This is a dark comedy that chronicles the experiences of a young, nameless woman through a series of narratives detailing various sexual encounters in her life. The piece is divided into four chapters, addressing themes ranging from parents walking in on you masturbating to being sexually assaulted, and examining how these experiences can profoundly impact an individual. The themes presented in All the Worst Parts revolve around identity, societal expectations, and the complexities of personal connection. It explores the protagonist’s struggles with self-perception amidst external judgments, particularly looking at her relationships with the people around her. This invites the audience to reflect on their own experiences with vulnerability and authenticity. 

It begins with Simohamed onstage in bed, surrounded by a simple set that confines us within the four walls of an everyday bedroom. The cluttered space features a bed, a rail, clothes and dishes, which creates an intimate yet chaotic atmosphere.

This piece feels like a tale of two halves. The initial two chapters possess a vignette-like quality, enriched by a darkly comedic script to boot. The writing demonstrates considerable wit, and Simohamed exhibits comedic timing that complements it perfectly. It feels personal; she talks to the audience like she knows them – open, candid, akin to a late-night chat in a university kitchen, with the connection feeling palpable and deeply resonant. Stories of being glared at by men in nightclubs and stalking someone you once fancied on Instagram are compact and powerful.

Conversely, the latter part, comprising the final two chapters, feels disjointed, not only from the preceding segments but also from the audience. The work abruptly adopts a time-specific focus, rooting itself in the COVID-19 pandemic, and the structure shifts to a linear format, lacking depth. It resembles a stream of consciousness, at times appearing as if the thoughts are taking on a life of their own, with the performance extending nearly 90 minutes.

There is a notable inclination to rely on comedy and not allow the serious moments to resonate with the audience, leaving the ending feeling abrupt and out of place. Additionally, numerous instances within this work appear to be entrenched in drama school culture and in-jokes, which, when presented to an audience beyond the confines of a studio, fall flat.

Director Xhuliana Shehu maximises the performance space and helps keep the piece’s pace flowing, with a largely effective soundscape that plays throughout the piece adding a great deal. However, moments of prolonged dialogue between Simohamed and a voiceover contribute to the overall sense of disconnection in the latter half of the production. All the Worst Parts is a truthful one-woman show dealing with some interesting and contemporary issues. However, it is ultimately lacking in depth and a coherent structure and perhaps needs a rethink to get best results.

Written & Performed by Sabrina Simohamed
Directed by Xhuliana Shehu
Produced by Eden Theatre Company

All the Worst Parts plays at the Baron’s Court Theatre until Sunday 20 April.