Review of ‘Dear Annie, I Hate You’: “A colourful take on grey matters”

Riverside Studios hosts the London premiere of this self-biographical play dealing with its author’s experiences after being diagnosed with brain aneurysm. Guillermo Nazara shares his views on the show, to let us know if its delivery features enough aspects to cerebrate.

Life sucks. Well, not really. But for some reason, society has taught us that it’s cooler to see the worst side of things, and complain as much as we can about our misfortunes, than to find the positive even in our darker hours. Excuse the sermon, but there’s not much else after being reminded of the virtue of staying alive upon the press performance of Dear Annie, I Hate You, which opened at Riverside Studios last Monday to a standing ovation.

It’s not the perfect show in any way (I said I’d focus on the positive, not that I’d stop being a b*tch). Yet, the significance and creativity it holds all through the rendition makes up for most of its flaws. Its grip is almost imminent and indeed persistent. And by the time we leave the theatre, we’re inundated by a rare feeling of hope, solace, and inspiration that resonates on both a human and artistic level.

Authored by Sam Ipema, who also stars under James Meteryard’s direction and dramaturgy, the play explores her real-life experiences after being diagnosed with brain aneurysm. I know what you’re thinking: “here comes the DRAAAAAAMA!”. But let me tip your nose as I utter a cute, little “nope”. This is no piece for cry-babies. This a piece of resilience and celebration. And above all, this is a journey driven by laughter.

There’s no mockery whatsoever, but a great skill to poke fun at what people would often regard as a tragedy – wiping the drama away without renouncing its gravitasr; and through giggles, reinforcing its bonding and relevance with its audience. It works extremely well from both a narrative and a thematic perspective. It entertains and keeps the interest consistently high, and it makes you think without telling you what those thoughts should be.

The only writing issue stems from a slight shortage of pathos. As much as the show’s approach relies on a lively tone, which is also the core of its message, the opportunities for a stronger emotional punch feel a little unexploited. We are touched by what we’re presented with but not fully compelled – perhaps as a result of some unnecessary gimmicks featured throughout the rendition.

In any case, the production still flaunts a remarkable degree of craftsmanship altogether. With a set and lighting by Hugo Dodworth, the staging regales audiences with an enthralling array of visuals – boasting meaning and pithiness through its uncanny ability to form solid pictures through symbolic abstraction, effectively complemented by Douglas Coghlan and Dan Light’s evocative video designs.

Devised as a two-hander led by Ipema as herself and Eleanor House as her lovely companion, both portrayals exude chemistry and adequate flair. Among them, House delivers the definite stand-out, oozing electrifying presence through her camp, energetic take on the role – consequently, accentuating the character’s likability despite her questionable nature.

I don’t come to the theatre to be lectured on what to believe or how to feel. Neither were the intentions of Dear Annie, I Hate You. And yet, it did make me believe and feel like few other shows – at least, the ones covering subjects of this sort. Brandishing several strokes of brilliance through a cohesive synapse of elements, the synthesis about this piece’s ranking is rather simple: coming to watch it is a no-brainer.

All pictures credit to Charlie Flint.

By Guillermo Nazara