A show about PTSD and sexual abuse that never quite makes it over the line.Summary
Rating
Ok
And Then I’ll Sleep follows the lives of Lorenza (Lily Walker) and Daffodil (Amelia Khalek), two survivors of sexual assault who meet in group therapy and form a bond over their individual traumatic experiences. The play explores how PTSD can influence their relationships and personal lives.
Primarily set in a group therapy setting, the script is episodic, shifting between various locations and intimate moments from both women’s lives. While the subject matter is heavy, the script avoids fully delving into the emotional depths, feeling surface-level and leaving the audience wanting a richer understanding of the characters’ human experiences.
The writing by Tasmin Wickremeratne shows nuance; however, the text feels like it is in an early stage of development, with some moments veering into lyricism that resembles prose rather than dialogue. At its best, the dialogue feels modern and contemporary, with comedic moments shining through from Phoebe Ralph as Mari, who displays great comedic timing. But those small moments we do see suggest she is wildly underused in this piece.
The opening monologue is the standout moment. It is heartwrenching and beautifully performed by Walker, seeing her recount how she struggles to brush her teeth, a seemingly mundane task that radiates as a symbol of overwhelming panic caused by trauma. This recurring theme is a skilfully written and performed moment that sets the tone for the piece, though one wishes this emotional depth persisted throughout.
Walker’s performance is a standout; it is intricate and thoughtful, especially during her solo moments onstage. Khalek’s Daffodil has a strong sense of defiance and standoffishness, which provides a striking contrast to Walker’s puppy-dog-like youthful vulnerability.
The direction by Elsie Youngman feels choppy and clunky, breaking the beautiful arc that Wickremeratne’s script is trying to paint; it lacks detail, with some moments of clarity and revelation being denied the space needed to effectively land with the characters and their audience. Blackout after blackout creates a great sense of disconnect, with no link or flow being afforded, making one think that, in its current form, the piece might be better as a short film, rather than a piece of live theatre.
It must be noted that it is brilliant to see an intimacy coordinator (Grace Marshall-Collins) being employed, and one must applaud Working Girls Theatre Company for this forward-thinking move, especially on a script that contains such dark themes. It shows great care for its actors and creates a safe working environment.
And Then I’ll Sleep boasts a stellar leading performance and a script that shows great promise, but the overall feel of the piece could do with revisions to allow it to fully realise its emotional potential.
You can read more about this show in our interview here.
Directed by: Elsie Youngman
Written by: Tasmin Wickremeratne
Composed by: Annie Napier
Technician: Jaymee-Leigh Thackray
Intimacy coordinator: Grace Marshall-Collins
Produced by Working Girls Theatre Company
And Then I’ll Sleep plays at the Lion and Unicorn Theatre as part of the Camden Fringe until Wednesday 13 August.
