(the) Woman
Written by Jane Upton
Directed by Angharad Jones
Nottingham Playhouse
Mon 10 – Tue 11 Mar
Welcome to the world of M, the title character of Jane Upton’s new play, (the) Woman. M is indeed a woman, but also a successful playwright and a mother. Her world might not be quite what you were expecting.
(the) Woman lays bare the raw truths and realities of what motherhood can sometimes feel like. The frustrations, the inequalities, and the sheer exhaustion. When each day feels like ‘Groundhog Day’ how do you keep from losing your sense of self or even forge a new one?
At the beginning of the play having just given birth, M is full of hope and optimism. Things will be different with her daughter. ‘We’ll eliminate the word ‘slim’,’ she tells us, adding ‘Nothing dark will ever get through the cracks.’ Alas, that idealism is soon dispelled.
I am a mother and there was so much of this play that resonated with me and my own personal experience – the condescension, the platitudes, the microaggressions at one level laced with rampant misogyny and curt dismissal at the other. Indeed, it was a case of ‘Art imitates Life’ when a giant placenta is held aloft on stage. Frankly, nobody tells you in real life just how enormous it is going to be!
M is played by a terrific Lizzy Watts, who is utterly convincing as the worn out, ground down mother. Her self-loathing and even self-sabotage are writ large as she attempts to write her next hit play. This plot point allows (the) Woman to reflect on the nature of theatre itself. Who is it written for? Who makes the decisions on what makes the cut? The meta-layer running throughout as M attempts to both live her life and write about it is especially effective.
There is excellent support from Jamie-Rose Monk, Andrė Squire and Cian Barry who play multiple roles with the self-assuredness that comes from shrewd direction (Angharad Jones). They imbue each of their characters with an individuality and distinction that is no mean feat. The minimal set design by Sara Parks and the seamless transitions allow the actors to shine. They are front and centre focusing our attention on their adept performances.
Eschewing the traditional ‘3 Act Structure’ gives (the) Woman a 1 hour 45-minute running time without an interval. The reasons for doing this are explained within the play. Instead, we have chapter headings guiding us through. I liked these and the way that they could be changed in real time to reflect M’s state of mind. However, breaking with tradition does mean that at times M’s complaints and injustices can feel somewhat relentless, even to those of us who have been there. Her husband complains that her speech is like ‘machine gun fire’ and I agree which is to take nothing away from Watts’ first-rate performance. I would like to see more space for lines to land and to breathe. Even just an extra second’s pause would allow us to process properly the point M is making before we are hit with the next one.
This is a play that has something to say to everyone, not just women or mothers. Yet for the latter, it is a sign of the times and a prescient reminder that the struggle is far from over. Life is messy, raw, emotional and (the) Woman holds a lens up to all that complexity.
Nevertheless, it is bitterly funny with a super-smart script by Jane Upton and genuine laugh aloud moments. It is affecting, sometimes disturbing, but it challenges your assumptions and when you leave the theatre you don’t leave the play behind. There is a power in (the) Woman that will leave you reflecting on your own life.
Running Time: 1 hr 45 mins
Age Guidance: 15+
