Too Small To Tell is an important story that is absolutely not too small to tell. But is this play the right format for it?
Lisa Rose details her experiences working in Harvey Weinstein’s offices. As an aspiring actress in the 90s, this office work could have helped her access her big break. But the realities of working for Weinstein soon become apparent, which she shares with the audience on stage.
Rose largely takes a narrative approach to the story, showing the audience what happened, when. She takes on multiple character roles – many not feeling distinct enough from each other – to tell the tale. The way she explains things is impressively done, with those watching having a really clear picture of events.
As with any performance that covers real life elements, there’s always a risk of the trauma bubbling a little too close to the surface. As Rose herself comments on in the show, she pretends to be fine, but she’s not. She’s understandably impacted by what she saw, heard and experienced at that time.
Rose makes good use of the audio and the screen behind her to support the story. There’s moments where the audience have things to read on the screen and watch on stage at the same time, which makes it hard to know where to look. Interwoven into the clear, punchy narrative, there are slides which feature the different stages of flight, fight, fawn and freeze. It would strengthen the performance to add a physical manifestation and emotional escalation of what it is like to experience these sensations. In general, the performance could take a greater steer towards feelings over facts, to heighten the experience and connection for the audience. This story is powerful, and the way its performed doesn’t quite capitalise on that.
This work was described as a ‘black comedy’ in the marketing, and features a photograph of the performer wearing a clown nose on her face. Just after one of the most poignant moments, 45 minutes into the show, Rose dons a costume, in a surreal and slightly jarring shift in tone. This content could work in a different play, but not in this performance, at this point in proceedings. Taking this to one side, there isn’t much comedy, black or otherwise, to be seen here. And there doesn’t need to be. The story has value without needing to find humour in it. It could also be explored very effectively through more dark, comedic clowning, but this doesn’t represent the show this reviewer watched.
The show does start with some amusing, physically portrayed anecdotes on what it’s like to be a woman in the acting world. This gets the audience engaged early. It works here, but almost feels like it could develop into a separate performance/show in its own right. Another female-led story to be told.
Rose is clearly a dynamic storyteller, but the marketing of Too Small To Tell seems slightly confused. Would taking this story on as a one character monologue, through storytelling or simply calling it a dramatic play be more effective? Perhaps. Is it a story that needs to be told? Absolutely.
Reviewed on 20 May.
