Review of ‘Woman In Mind’: “Sheridan Smith is reasonably good in insanely well-done play”

Alan Ayckbourn’s 1980s piece returns to the London stage in a new, limited-running production directed by Michael Longhurst. Guillermo Nazara shares his views on the show to let us know if its take on a deranged woman’s story is worth some raving or it’s just raving mad.

She’s bloody Lulu. We’d better be blunt about it. Of course, I’m talking about the character — Sheridan Smith hasn’t given any indications of a similar condition… yet. Who knows, though? The blend between her onstage persona and her actual self is quite astounding. Suffice to say, that’s what you’d expect from any of her performances, especially if you’ve experienced her before. No matter the story, style, or arc, Sheridan will always be Sheridan. And to some extent, we can be grateful for it, because this role fits her like a glove — I’m being complimentary, so don’t make me sound bitchier than I already am.

Alan Ayckbourn’s 1985 play has made a comeback to the West End, and it seems like the prospects are victorious. Overall, the production works impeccably well. Director Michael Longhurst’s track record with mind-related themes makes it a solid introductory card. And eventually, it proves itself as a safe bet.

His revival of Next To Normal, a story of a woman who hallucinates about her deceased son, was a shining beacon of artistic craftsmanship in the West End. So was Second Best, a one-man show depicting the mental struggles of the child actor who lost the part of Harry Potter to Daniel Radcliffe, which also served as a triumphant theatrical debut for Asa Butterfield. Now, it’s time for the journey of a delusional mother who detaches herself from a reality she doesn’t want anymore. And the result is crazy good.

Susan (Smith) isn’t happy. Her only son doesn’t speak to her. Her relationship with her easily deranged sister-in-law is unstable, to put it mildly. And her loveless marriage has been on the brink of disaster for many years now. She’s had enough, but she can’t break away. Until she does — in her mind, however.

An accident with a garden rake will initiate the fantasy: a beautiful daughter who’s about to get married, a caring brother who brightens her everyday, and a devoted husband who employs each thought and effort to make her happy. It’s the perfect life. Or at least, it’s the life she aspires to. Sadly, the truth keeps kicking it and shutting the dream down. That is, until it no longer does.

Ayckbourn’s bitter irony remains as potent forty years later. His witty remarks and delicious satirical portrayal of a conformist middle-class society shake our minds as much as they tickle our funny bones. It’s a tale with no villains or heroes. Everyone suffers, and everyone causes suffering. Each character is as messed up as the next one. Despite their many flaws and laughable traits, all that we can do is care and root for them. And in many aspects, we can even relate.

The production’s option for simplicity helps underpin the text’s poignancy. There’s barely any sets apart from a garden’s lawn and untrimmed greenery. The safety curtain, decorated with similar motifs, plays an intermittent role as the barrier between reality and Susan’s fabrications. The lighting grid stays visible. So does the backstage area, whose bleak, almost decaying appearance acts like a metaphor (intentional or not) of how the two worlds collide against each other. A few additional projections on the backdrop morph its drawing into a psychedelic illusion — not the most subtle approach, but nonetheless effective.

All in all, the renditions flaunt ample dexterity. The cast brims with rapport and chemistry, and their comedic timing is just excellent — poised, organic, and delightfully sarcastic. For the most part, the portrayals teem with naturalism and subtext. And consequently, their connection with the viewer is almost imminent. We’ve been there before, whether that means interacting with toxic relatives or coping with forced family situations. It’s a window for conscious observation. And at the same time, a mirror where we can see ourselves vividly reflected.

Among them, Louise Brealey earns a first mention as the disturbed sister-in-law, Muriel, whom she plays with compelling layering, avoiding the caricature this character could easily veer to. Simultaneously, Romesh Ranganathan exudes presence and inherent humour as Dr. Bill, while Michael Woolfitt displays fortitude and sincerity as Susan’s son, Rick. The actual show stealer, however, is Tim McMullan as the real-life husband, Gerald — performing with exquisite nuance and stirring command while effusing the role’s humanity.

It’s not a happy story. Still, you will be laughing all the way through. Perhaps, that’s life’s biggest paradox. And therefore, the show’s message. Or maybe there’s no message at all other than what each viewer finds individually. Whatever the case, Woman In Mind’s thought-provoking qualities, endurance, and overall reactability are undeniable. It’s a gripping tale overflowing with reads, all of which are thoroughly entertaining. And its vastly satisfying execution can only bring up its already lingering flavour, so much that it would be insane not to watch it.

This site is proudly sponsored by

Woman In Mind plays at London’s Duke of York’s Theatre until 28 February. Tickets are available on the following link.

By Guillermo Nazara