Writer: Rhia Burston
Director: Charlotte Cattrall
Something happens in the middle of Rhia Burston’s Woebegone that is utterly shocking throwing its narrative about three university friends living in the North of England in a completely unexpected direction. It would be unfair to reveal the twist as it’s a chilling coup de théâtre. Once the tragedy is unveiled, it makes complete sense why the first half of Woebegone is played so leisurely.
Burston wants to ensure that her characters feel completely real. In the first 40 minutes or so, the plot of Woebegone appears to be flabby, its story at first concerned with why Dani has moved back in with best friends Joy and Amy. Dani’s unemployed while her mates have steady jobs. Joy is a high-flyer at a prestigious law firm while Amy is a maths teacher at a primary school. Joy and Amy go to bed early while Dani wants to stay up late drinking wine.
Dani also brings men back to the flat. The show begins with one of her lovers being regulated to the sofa. Philosophy student Harry (Max Race) is a good egg, although his knowledge of his subject seems only to extend to epigrams from The Lion King. However, despite his frequent appearances, Burston’s play is centred on its women.
Joy, in a very natural performance from Olivia Woolhouse, confesses that she is still a virgin to the unbelievably posh man she brings home from work one night. The date is a disaster. Amy (a nicely understated Ellie Carroll) tells Joy that friends tend to be the best first lovers, although Amy doesn’t seem to have any lovers of her own. Meanwhile, Dani (Burston) slowly moves Harry from the sofa into her bedroom.
With this set-up, Woebegone begins as if it will be a study of women in their early 20s, anxious about their futures. In the same way that these women are lost, the play deliberately lacks a definite focus at its start. However, the acting of the cast is so convincing that the three women (and Harry) appear fully realised.
And because of this authenticity, the sudden switch in direction means that the audience is totally invested in the story. These women are not stereotypes and neither are they statistics. A few times, the message of the play is a little too strident, but with such an important message to be relayed, the passionate speeches by Amy and Dani don’t feel out of place.
Only playing at Theatre503 for two nights, Woebegone deserves a longer run. This is brave, intelligent theatre at its best.
Runs until 25 July 2024
