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Review: Woman In Mind (Duke of York’s Theatre)

Review by Daz Gale


⭐️⭐️⭐️⭐️


Two years ago, the Duke of York’s Theatre in the West End was home to one of the standout performances of the year from Sheridan Smith in a revival of Shirley Valentine. History is now repeating itself as she is now back in her former home for a hotly anticipated new production of Alan Ayckbourn’s Woman In Mind. Would lightning be able to strike in the same place twice, or would the magic remain trapped in the imagination this time around?



Premiering in 1985 and now celebrating its 40th anniversary, Woman In Mind has seen the likes of Julia McKenzie, Stockard Channing, Janie Dee and Helen Mirren step into the lead role, with now another acclaimed actress joining the legends that have gone before her. The play starts with Susan suffering from a bump to the head. As she starts to come together, the real world starts to blur with a life she has imagined for herself, a far cry from the mundane world she has to deal with on a daily basis. Frequently detaching from reality, both her real and imagined family attempt to pull her into their respective worlds, with the risk of both colliding ever closer.


There is a reason why Alan Ayckbourn's writing has stood the test of time, with many of his works frequently revived in the years and decades since they premiered. Woman In Mind is a fine example of his strengths, with his writing remaining as vivid and fascinating now as it would have been 40 years ago. The mix of genres present here could prove jarring in another writer’s hands, but Ayckbourn has an unrivalled knack of blending these together, fusing comedy with darker elements to create a hybrid play that you never know whether to laugh or cry at. This made for an interesting watch as there were solitary laughs at moments others clearly found uncomfortable, and much broader, more unanimous laughter elsewhere.



Some may argue that Woman In Mind is dated in some regards, and in some ways, it very much is a product of its time. However, I could also argue the opposite. Much has changed in the decades since this play first premiered; however, with attitudes towards mental health thankfully changing significantly, with far more care and understanding for those affected. That means audiences today are likely to sympathise with Susan in a different way than they did in 1985, and, while there is no shortage of laughs to be found in this dark psychological comedy, they are never at the expense of Susan’s mental health struggles and never undermine the very real issue. In that sense, Woman In Mind has aged beautifully, unlocking elements to the story that would have been hidden beneath the surface. Such is the beauty of theatre and its timeless nature - the world may evolve, and society may move on, but revisiting the classic may uncover something new and relevant, no matter when the piece was originally written.


Breathing new life into this 40th anniversary production is director Michael Longhurst, who revisits the world of mental health, following his acclaimed and sensational production of Next To Normal. Though I don’t doubt some of the choices here may prove divisive, I found many of them to be inspiring and incredibly realised on stage. Longhurst had a clear vision of how to tell that story, and that vision effortlessly sprung from his mind and burst into reality thanks to an equally impressive creative team.



Soutra Gilmour’s set design allows for deception before the play has even started, with the safety curtain remaining on stage to reveal itself as part of the set. When it does finally rise, the sight of Susan’s overgrown garden allows Longhurst to get creative with Susan’s imaginary world and the sudden appearance of her fictitious family. Similarly, a striking use of video design from Andrzej Goulding allows for comparisons to be made with Susan’s state of mind and what we are seeing, with changing clarity and creative effects signifying this fantastically. Lee Curran’s lighting design is utilised beautifully, particularly in the chaotic closing moments, while Paul Arditti’s sound design is a standout aspect of the production, especially in a pivotal scene in Act Two, leading to an ominous and uncomfortable effect around the theatre that allows the audience to enter Susan’s mind themselves.


All of these design elements allow Longhurst to play to his strengths and execute some bold and defined choices in his direction. It is sure to provoke a reaction from some, however, especially those who are overly familiar with Woman In Mind and will have seen prior productions, which they will inevitably compare it to. One thing is for sure, though, it is certainly not boring - I would much rather something was divisive than dull. It’s far from perfect, with certain scenes proving less effective than others and pacing not always consistent, but the imperfections actually add to its charm, reflecting the chaotic nature inside Susan’s head.



One aspect of Woman In Mind that will surely attract many theatregoers to visit is the return to the stage of Sheridan Smith. One of the UK’s finest actresses, she proves time and time again what a remarkable performer she is with her unrivalled ability to tap into any character and display the very essence of them. Her last role on stage in Opening Night may not have played to her strengths, despite her best efforts, but Woman In Mind definitely does. Here, Smith exhibits all the complexities that Susan has, battling her conflicting worlds and revealing what is at the very heart of the character. Sheridan Smith makes this look easy in a role that is anything but, resulting in an incredibly emotive, urgent and uncomfortable watch. Crucially, she always ensures you are rooting for her, even when Woman In Mind does step it up a notch in its weirdness, somehow grounding the piece and ensuring the essential humanity remains, even when Susan finds herself lost in a strange world.


Sheridan Smith isn’t the only performer on stage, and her fellow Woman In Mind cast members are all exceptional in their own right. One unexpected bit of casting is comedian and presenter Romesh Ranganathan in his stage debut. You wouldn’t know this was his first play, though, such is the calibre of his impressive and even surprising performance here. Playing in to his comedic charms, Ranganathan is a revelation in an exceptional turn as Bill, lighting up the stage with his presence, and bringing a great chemistry in his scenes with Sheridan Smith’s Susan - it is the moments the two are together on stage that Woman In Mind is at its best, and that is largely down to the remarkable talents of both Sheridan Smith and Romesh Ranganathan.



Louise Brealey is a highlight as Muriel, with her largely deadpan and dull nature proving the perfect contrast for the bright and colourful nature of Susan. Tim McMullan is another fine contrast as Gerald, Susan’s husband, who doesn’t share her comparatively wild nature. Sule Rumi, Safia Oakley-Green and Chris Jenks all bring a slightly exaggerated nature to their roles as members of Susan’s imaginary family, in a stark contrast to Taylor Uttley, portraying her very real son, Rick.


Whether you are going in knowing the story beforehand or entering it completely new, this production of Woman In Mind will shock and surprise you. Michael Longhurst’s bold vision is incredibly creative, playing into the surreal and even strange nature of the premise, and bringing to life two very different worlds in clever ways. It isn’t perfect, and it isn’t going to be for everyone, but, for me, this is exactly what I love about theatre - it feels dangerous, and that only works in the favour of the story, highlighting the urgent nature of Susan’s plight. With star turns from Sheridan Smith and Romesh Ranganathan, there is much to love about this production - it may be weird at times, but it is wonderfully so. Though Susan may lose her grip on reality, this Woman In Mind never risks losing its grip on the audience, ensuring it will linger in my mind long after the safety curtain falls.



Woman In Mind plays at Duke of York’s Theatre until 28th February.


Following its West End season, it plays short runs at Sunderland Empire from 4th - 7th March, and Theatre Royal Glasgow from 10th - 14th March. Tickets available here


Photos by Marc Brenner

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