Writers: Honor Santa Barnes and Eleanor Blackwood
Director: Eleanor Blackwood
The question at the heart of this fascinating drama is where the boundary lies between reinventing yourself and becoming a con artist. It goes well beyond exploring the social masks people wear routinely in order to gain greater acceptance within peer groups. It questions what is true and authentic about us in the way we present ourselves.
The nameless protagonist is an Irish graduate trying to make it in London, being rejected from art gallery jobs galore. It’s only when she jokingly makes a comment about “Daddy” cutting her off that she’s taken seriously. Becoming a sidekick to upper crust Isabella starts to open doors and soon she’s landed what she thought would be her dream job.
The basis for her friendship with Isabella is, of course, a lie. Adopting the persona of Florence, a posh girl with a voice to match and a hazy international family background, her contacts book starts filling up. But to her disappointment, she soon discovers that working for a commercial gallery is less meaningful than she expected.
This solo performance is addressed to the audience, but using the notional framing device of the young woman confessing her deceptions to her big sister. The psychological effects of inhabiting a persona at a deep level are explored. Having formally changed her name, Florence starts to believe her own made-up life story. She also believes it’s possible to live such a fraudulent existence without having to deal with any consequences.
Honor Santa Barnes gives an electric performance that incorporates a range of other characters, some with distinctive accents. Irish, Scottish, Welsh and Yorkshire fall within her repertoire and she nails them all. This vocal dexterity is all the more impressive as the actor reported afterwards that she’s not an habitual mimic; she’s had to train her voice for these roles. With great energy, she delineates them physically too.
While a few sequences are slightly repetitive and over-explained, this is a powerhouse production with a thought-provoking script and a compelling, shape-shifting protagonist. It’s already attracting good-sized audiences, so make a point of booking if you want to catch it while it’s here.
Runs until 23 August 2025
