Writer: Beth Lindsey
Co-Writer/Director: Helen Iley
See You Tomorrow vividly paints the shocking and, quite frankly, terrifying reality of what happens to nearly thirty-year-old Harrie.
Through a well-crafted performance, a no-holds-barred script, and thoughtful use of sound design and projection, this clever and rib-achingly funny play has audiences thinking deeply about the justice system.
This one-woman play tells the story of Harrie, a Welsh girl living in London, who is drugged and sexually assaulted following a mandatory wine tasting at her new fancy hospitality job. The play, which for the most part flows in chronological order, dynamically and, at times, uncomfortably highlights the trauma that forever lingers in the darkness for those with lived experience.
Actress and writer Beth Lindsey is sensational as Harrie, bringing the character to life with boundless energy. But perhaps what is most impressive is Lindsey’s innate ability to balance, pivot and flip highly charged emotion with comedy, resulting in an experience for the audience that is equal parts humour and heartache.
Director and co-writer Helen Iley seamlessly combines projection, soundscapes and voice-over to highlight the continual re-traumatisation victims can face as they seek justice, and the truth in Harrie’s case. The repetition and drawn-out nature of these moments leave audiences increasingly angered. Iley’s use of a range of regional voices is particularly effective, reflecting the diversity of London, where the assault takes place, while further immersing audiences in Harrie’s world. Yet, as the play progresses, this bustling and diverse city becomes increasingly associated with trauma, making Harrie’s eventual decision to retreat to Wales feel like more than simply a return home; perhaps it is a return to the sense of belonging and safety captured by what people in Wales call ‘hiraeth’.
This powerful production has the potential to entertain and educate audiences both nationally and internationally; its humour, humanity and emotional honesty have a universality that can transcend borders. Having now seen the show twice — yes, it’s that good — there is a sense that, as the production develops, the incorporation of live cinema techniques, à la Katie Mitchell or Jamie Lloyd, could further draw out the material and give the story enough space to stretch into two acts, while also leaning further into Iley’s immersive use of technology.
However it develops, or indeed doesn’t, this production is stellar and a must-see at the Edinburgh Fringe Festival.
Runs until 29 August 202
