Review: Jealousy Play, Etcetera Theatre

Jealousy Play is a piece written and performed by Rachel Isobel Heritage. This solo show follows the story of Joanne as she tries to make her dreams of being onstage a reality. Taking us from stage coach to the Fringe and back again, she recounts the highs and lows of a theatrical life, all whilst navigating the challenges of being neurodivergent and working-class in an industry that favours neither. Weaving the themes of jealousy, burnout, neurodivergence and class struggle, Jealousy Play dares to ask…what is the cost of dreaming?

Directed by Anna Lewis, Jealousy Play is a true example of just how much can be done with so little. The piece is well paced and consistent, maintaining its dynamic energy throughout. The staging is minimal, just a chair and desk set, with projections working in tandem to give further context. Additional recorded voices add dimension and are included in such a way that they offer a non-physical presence; they feel like they are in the room with Joanne and give her someone to bounce off of. Although the show is speech-heavy, the story is given time to breathe and develop without rushing to a climax. These aspects work together to deliver a show that is more than the sum of its parts.

Heritage’s writing is beautiful. The storyline is relatively simple, a young performer trying to carve out a life on the stage, but her emotional journey is so well communicated, it’s nearly impossible to not empathise with her. Whilst particularly relatable to drama students and industry veterans, the story speaks to anyone who has dared to follow a dream. She combines the dramatic moments with plenty of sardonic Gen-Z humour to give balance and reprieve to what could be an otherwise heavy show. 

The real brilliance here is how Jealousy Play is able to weave numerous threads without pulling too much on any single one. The obstacles of being both neurodivergent and working-class in a creative industry are clearly illustrated, but never used to hold a soap-box sermon. Joanne is shown to be a sensitive and highly creative individual, whilst also sporting a one-sided envy of her classmate Neptune, who she perceives as ‘stealing’ her opportunities. The writing doesn’t seek to examine whether she is justified in her feelings – they just simply are her feelings. The ability to imbue a short piece of writing with such complexity, thematic richness and personal vulnerability is indicative of a writer with rare talent, and real potential for great future storytelling.

Jealousy Play is thoughtful and poignant, as is Heritage’s wonderful performance. However, for neurodivergent folks amongst the audience, this play is like looking into a mirror and having the reflection talk back. The trauma that comes from trying to survive in a world not built to hold you is all too real and is handled in this show in a way that is truthful and raw. Sharing experiences such as meltdown and executive disfunction, nothing about the delivery is contrived. Heritage neither plays up nor dilutes her performance of Joanne, rather portraying the semi-autobiographical character with absolute sincerity. She manoeuvres from scene to scene with fluidity and delivers a performance that is introspective and tender. 

Combining a relatable story with steady direction and compelling performance, Jealousy Play is one of the best pieces of new writing to emerge this year. Brave, heartrending and genuinely funny, it is the kind of show that inspires the audience to make theatre of their own. An excellent turn, with great potential to develop beyond the Fringe.

Directed by Anna Lewis
Written by Rachel Isobel Heritage
Voice recordings by Rosie Carson, Henry Barker, Anna Lewis, Gregor Copeland and James Secombe
Technical engineering and lighting design by Jae Kraengel
Produced by Lockdown Projections Theatre Company

Jealousy Play has finished its run at the Etcetera Theatre, Camden