Review of ‘Not Your Superwoman’: “Mother-daughter two-hander births an enticing premise but lacks nurturing”

London’s Bush Theatre hosts the world premiere of this new coming-of-age play starring A-list actresses Golda Rosheuvel and Letitia Wrigh. Guillermo Nazara shares his views on the show to let us know this mother-daughter two-hander is in need of some counselling.

Not all heroes wear a cape. However, not everyone who’s supposed to be our hero fits the role. It would be a miracle to find one single family where there’s no trace of dysfunction. From estranged relatives to traumatic episodes of abuse, we all have undergone some sorrowful, scarring situations perpetrated by those who, allegedly, are in this world to protect them and care for them.

Not Your Superwoman doesn’t take the classical premise of a tense mother-daughter relationship to the extreme. Yet, its heart beats to the languid cadence of a broken tie that’s hard to reattach. Also following the traditional arc of a resentful child who unwillingly becomes a carbon copy of the parental figure they once rejected, the play introduces us to a middle-aged woman trying to get closer to her baby, now in her 30s, by booking a trip to her country of origin, Guyana. From then on, they will embark on a journey of self-discovery that will allow both of them to heal, despite the hardships they must face along the way.

Author Emma Dennis-Edwards isn’t pushing boundaries through this narrative — not that a piece of this caliber requires groundbreaking tools to make an impact. It’s the insightfulness of the material that will determine its final effectiveness. In that department, her efforts are adequate, but never outstanding. The raw elements for a compelling, soulful recount exploring such poignant themes are all there. Nonetheless, its quiet resonance stems from its lack of alchemy to create a more lasting and pungent aftertaste.

Although the plot is entertaining, the structure isn’t, by any means, faultless. Despite a few occasional anticipations, the overall scene sequencing comes across as too linear — often giving us the hook and its resolution altogether, instead of scattering the dots and reconnecting them further on as the story concludes. At the same time, the characters are not given as much introspection as they require — we are presented with their conflicts, but their evolution feels slightly sketchy, not leaving much space to tackle all the layers and complexities of their tumultuous bond.

As a result, some parts of the script come off as somewhat melodramatic. The protagonists’ relationship with their mother-grandma serves as one of the argument’s main drivers. A struggling immigrant woman who didn’t allow her little girl to pursue her dreams, all along believing she was doing it for her own good, is the most defining trait of the characters’ personalities, as well as how they see each other. It’s a striking feature that can lead to an exceedingly moving outcome. Sadly, the piece’s pathos is limited by a faintly shallow approach — setting the grounds but not building much more on top of it to let its emotiveness pour through.

Directed by Lynette Linton, the production’s visuals play to a different and much higher level. As guests enter the auditorium, a half-opened cubicle stage stands in the middle. Two plain walls and a couple of chairs constitute the entire scenography, while a translucent gauze displaying smoke-splattered images of the two leads acts as the curtain. Phenomenal lighting transitions by Jair Morjaria and subtle, evocative video projections by Gino Riccardo Green make audiences fly from a London airport to the most recondite spots of the Guyanese rainforest — and the illusion just keeps going on.

With a celebrity casting formed by Golda Rosheuvel and Letitia Wright, both performers give fine renditions throughout this 90-minute two-hander. There is a certain degree of depth in their portrayals, but their chemistry is vague and not too noticeable. One could argue that the distance between the leads justifies the shortage of rapport, but the issue is significantly deeper — sometimes, they seem completely detached and, to some extent, mechanical, unable to convey a nuanced undertone of two antagonised people trying to make peace with each other. The script also gives the opportunity to demonstrate their rage by swapping roles — wistfully, their not too ample register compromises their credibility.

Parting from a robust premise but juggling too many ideas without clinching them and letting them flourish, Not Your Superwoman finds both its force and kryptonite in its writing — selecting all the right topics but not allowing them to expand to their full potential. As an initial draft, it shows remarkable promise. However, there are more steps to take if this mother-daughter adventure wants to reach maturity.

Not Your Superwoman plays at London’s Bush Theatre until 1 November. Tickets are available on the following link.

By Guillermo Nazara