Review: Invisible Me (Southwark Playhouse Borough)

Review by Daz Gale

⭐️⭐️⭐️⭐️

It was a case of back-to-back press nights at Southwark Playhouse Borough this week. One day after sitting in “The Large” for FLYBY, I was back again, this time in “The Little” for Invisible Me. While the response to the previous show didn't quite send me into orbit, would this offering fare any better, or would I find myself seeing through the cracks?

Invisible Me tells the story of three very different people who all have one thing in common - they are all turning 60. The other thing they have in common is their loneliness - Lynn is alone following the end of her marriage and the death of her mother, Alec has grown-up children but now lives alone, and Jack is still navigating life following the unexpected loss of his husband. Individually, they each attempt to usher in a new chapter in their lives in an attempt to stop feeling invisible. They explore the various ways people can date (or simply hook up) in the 2020s as well as discover surprising income streams previously unknown to them, perhaps making some unexpected connections along the way.

Written by Bren Gosling, Invisible Me is a speedy affair, packed with heart and humour from the opening moments. The three characters all take turns revealing moments from their past and key aspects of their character as they grapple with this latest chapter and an attempt at any sort of human connection. It is cleverly done, never missing a beat as one character pauses for another to take over. These are three standalone stories that share similarities but also extreme differences, taking the story in places I never imagined (particularly when it comes to the seemingly shy and unassuming Lynn). Of course, connections are to be made between them as the play progresses in a way that feels slightly reminiscent of the television show This Is Us. By the time the eighty-minute play concludes, each of the three has interacted with the others until they become a formidable trio impossible to take your eyes away from.

The topics explored in Invisible Me showcase the strength in Bren Gosling, particularly in shining a light on a subject that is often overlooked. Life doesn’t stop at 60, and this play proves there is plenty of life in people in their 60s, taking the story in different directions. Primarily, this is a comedy-drama, and the laughs come thick and fast in a show that had me grinning from ear to ear. A key aspect was the differing ways people can date and receive intimacy in the 2020s, with the trio exploring dating apps, OnlyFans, and that increasingly rare situation of actually meeting someone in person. Due to the relatively short runtime, there is the argument that not every character and subject is as fleshed out as I would have liked, and perhaps adding another 10 minutes or so to the play would do wonders for furthering this, with Jack feeling as if he had been given the short straw of the three, leaving me longing to learn more about his life.

Scott Le Crass’ faultless direction ensures the pacing never falters, brilliantly utilising the intimate space of The Little at Southwark Playhouse Borough in a way that connects with the audience. And connect it does! I found myself victim to prolonged eye contact from one of the characters, as each narrates their story to the audience, who in turn collectively become the fourth character in the story. The precise way each character takes their turn within a split second of the other stopping shows a meticulous attention to detail and a production that is in better shape than some of the others I have seen this week, feeling under-rehearsed or underdeveloped. Having been underwhelmed multiple times this week, it was refreshing to see a show in as good shape as this is, even if Invisible Me wasn’t the show I expected to be the strongest of the week.

Subtle and effective set design from David Shields comes to life with a great use of lighting from Jodie Underwood, particularly in the closing cathartic sequence. Similarly, Julian Starr’s crystal clear sound design is used to pristine effect, ensuring nothing is ever lost with every moment of dialogue, sound effect and inclusion of music elevating the story in a testament to both Le Crass’ direction and Gosling’s writing.

The most impressive aspect of Invisible Me is its remarkable cast of three. Tessa Peake-Jones may be best known to millions as Del’s long-suffering wife, Raquel in Only Fools And Horses, but she proves there is much more to her than that iconic role in an incredible characterisation of Lynn. Going on a huge transformative journey, Peake-Jones begins the show very understated and nervous before her character embarks on a sort of rebirth, bringing back the strength, independence and visibility of the character. Peake-Jones is a wonder at channelling this, ensuring the transition is as slow and natural as possible, rather than attempting to do too much, too quickly. Lynn wants her life to be on her own terms, and Peake-Jones more than delivers on that front.

James Holmes explores a similar journey of growth as Jack, as he navigates a world so unfamiliar to him. Though his character seems to have less to do than the other two, his relationships with both prove a key to the friendship that ends the play, and it is the climactic scenes that see Holmes at his best, as Jack is awakened. The cast is completed by Kevin N Golding in a sensational turn as Alec. The charisma Golding brings to the role is second to none, with a cheeky and almost flirtatious way of interacting with the audience. His character proves the most endearing immediately, and while the other two characters get their moments as the play progresses, Golding keeps a consistency throughout, even if his character is hiding some true insecurities through bravado and perceived masculinity.

Invisible Me isn’t just a welcome play; it is also a necessary one. To think that so few stories are told about people once they turn 60 feels like a disservice, and Invisible Me attempts to right that wrong. It does so in a brilliant fashion in a play that is as fantastically written as it is directed, bolstered by three absolutely outstanding performances. It may not be completely perfect and would certainly benefit from a bit more fleshing out, but it is a reflection of life and the characters present in the play that nothing is ever finished, and there is always an opportunity to grow, develop and learn more about yourself. In a week of openings of bigger shows that underwhelmed in one way or another, there was a risk Invisible Me would go unnoticed. However, it has come at the perfect time in a show that deserves to be seen.

Invisible Me plays at Southwark Playhouse Borough until 2nd May. Tickets from https://southwarkplayhouse.co.uk/productions/invisible-me/ 

Photos by Harry Elletson