Review: Sweet Thing, The Hen and Chickens Theatre

When a loved one dies, it is not uncommon for their family and friends to commission a special picture or painting to memorialise them, as a way to remember the good times shared. Sweet Thing follows an artist who faces a unique distraction whilst she paints her departed friend’s portrait — you don’t often have the deceased themselves watching over you.

The passionate artist (Jasmine Rachelle) and the enthusiastic Mia (writer, Molly Boyle) shared a love of art, though with different tastes, so it is only natural their banter continues even after Mia dies. In the course of painting the memorial portrait, it is discovered that the completion of the painting is the key to allowing Mia to fully pass on, which the artist is not yet ready to accept. This causes increasing tension between the two friends as they try to come to terms with Mia’s passing and what they both stand to lose. Seeking guidance on how to understand her feelings, the artist attends sessions with a supportive therapist (Emma Lejeune-Mannin) who tries to help her find some understanding and peace.

As the writer, Boyle immediately establishes the warm rapport between Mia and the artist as they discuss the merits of different renowned painters, with both performances bringing the good humour to life with easy chemistry. Establishing this early empathy for both effectively adds to the moral dilemma of whether the painting should be completed, as both points of view are understood. The story begins at a point where the artist is already quite used to visits from her deceased friend, which enables the drama to focus on the arising moral debate between characters. The creative use of the therapy sessions as a framing device as the story progresses provides the audience with an insight into the artist’s mindset and feelings which Mia is unaware of.

As director, Lejeune-Mannin has embraced the nature of the therapy sessions, with the audience watching the story unfold as a flashback being described by the artist, to both maintain the momentum of the story and thoughtfully inform the set design. Because the sessions are focused solely on the cause of concern with Mia and the painting, the set design is centred on the artist’s easel, canvas and workstation full of equipment. As the wider world of the artist’s life is not being told to the therapist, it’s not visualised for the audience. The chairs of the therapist’s office are placed to the side of the stage, allowing the narrative to seamlessly switch between the described past events and the present session. As a permanent presence on stage, listening to the unfolding events, the therapist also serves as an audience surrogate, with Lejeune-Mannin maintaining a suitably professional straight face, but becoming notably more engaged and animated in her note-taking as the drama heightens.

The story’s emotional core is Mia’s chance to pass on, her form gradually fading from the world as her painting is produced. This is atmospherically brought to life by Chiara Bowker and Haley Sliker’s lighting design, which gradually bathes Boyle in a mystical golden glow. The visuals are enhanced by Jolie Lebell’s ethereal and joyous soundscape, which contrasts with the artist’s distress. The characters’ costuming also subtly conveys their differing moods; the artist wears darker clothes while mourning her friend, while Mia wears lighter colours to reflect her continuing optimism.

This engaging, emotive drama thoughtfully explores the balance between hard-felt loss and wonder at the memories of the people we knew.

Written by Molly Boyle
Directed by Emma Lejeune-Mannin
Lighting designed by Chiara Bowker and Haley Slike
Light and Sound Operated by Jolie Lebell
Produced by One Too Many Productions

Sweet Thing has completed its current run at Hen and Chickens Theatre.