Woman in Mind

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However, next to her fictional family, they are saints, as the trio, doting husband, Andy (Steve Burt), irrepressible brother Tony (Ben Tanner) and perfect daughter, Lucy (Kirsty Terry) lead us all into a darker, disturbing world. In the sunset of her imaginary world, Andy caresses Susan and forgives her for being angry with Lucy. Susan, now worried by the increasing influence that Lucy, Tony and Andy have on her real life, tries to ask Andy to leave her alone. Andy says they will go when she asks but stays when Susan does so, suggesting she didn't really mean it. The scene becomes unreal, with Andy anticipating everything Susan says, then the voices of Susan and her imaginary family coming out of both their mouths.

Brilliant designer Les Brotherston has created an amazing set spreading right across the stage and beyond, with lawn, flower beds, walls and steps so solid and sturdy they seem to have been there forever, all enhanced superbly by Mark Henderson’s lighting with sound and video by Simon Baker. The whole is so effective that is seems we are there with them in the garden as day turns to night and a raging thunderstorm reflects the chaos in Susan’s mind. The final shred of reality is when Muriel says "The ambulance is on its way", and a blue light flashes. Susan's speech descends into the same gibberish Bill used at the beginning of the play, and, with a desperate request to "December bee", she collapses a final time. There is plenty of enjoyment to be had from this moving production as the accomplished cast unravel Susan’s torment and appear to be talking nonsense!

Some women also experience mood swings rapidly due to their PMS. [12] X Research source [13] X Trustworthy Source US Office on Women's Health U.S. government agency providing resources for women's health Go to source It will benefit you to be aware of the fact that her health and physical changes have a constant impact on her which reflects in her dealings or reactions while interacting with others. If after forgiving you she acts uncaring toward you, it shows that she looks at the bad experiences as a painful one. You may keep this in mind and give her space and be as amicable you are able. A woman is more likely to forgive someone slowly while seeing how the offender behaves in the longer run. Many ladies approach happenings on an intuitive level, through emotional channels and try to understand the intents rather than trusting in the words alone (or at all). [3] X Research source

She is also no saint. Remember that everything we see is her version. Ideally - in theory if not in practice (God forbid) - every time Susan blinks the lights should dip. We get her version of events from square one. Being the only version we're offered we should tend to trust her. After all, she is the central character. She should know what she's doing. Shouldn't she? The simple set and spot-on lighting and sound complete the picture. This is a story told not in words, but visually and Bench Theatre nailed every element. Tremendous theatre! a dazzling, provocative evening... which is both hilariously inventive and demonic" - Sunday TelegraphTinny beers a show. High december how rotten high trade fat haywood throw twig and throng hike hair share rents. Pie lank hod hat day lid! Hens, hang few saw paw up-short. Hang few. Hang few, hens, sizzle pie tart insole. Grey ice way chew...? Grey ice way...? If the breach is great, seek a way of apology specifically for her and your specific shared circumstance.

As Lucy tries to comfort her, it becomes obvious that Susan’s Family draw their own lives from Susan’s experiences. Confused by all that is happening, Susan tells Lucy to go away and confronts Gerald about their relationship. He walks away from her and Andy appears; Susan futilely telling him to go away, leading to a disturbing confrontation in which it becomes unclear who is controlling who in Susan’s mind. Andy departs, leaving Susan shaken but convinced that she has rid herself of the Family. The play was first performed in 1985 and it seems a very good time to revive it with so much talk about mental health and the tragedies which it can cause. There are suggestions that social media has a lot to answer for, and that’s probably correct, but that was not available in 1985. The problem has been around much longer than we would care to believe. We can only hope that this play will bring it even more to the fore—whatever the reason, it’s a frighteningly tragic story, but an impressively spellbinding production as we follow this deeply disturbed woman on her journey. There is much good work to praise here. Sarah Parnell as the put-upon Muriel is a creation of genius and Pete Woodward and Simon Walton as vicar and doctor respectively, give nicely-studied work with an eye to detail. The ubiquitous Aaron Holdaway presents an essay in comedic delivery too. Hair growing, hens? Goosey? Gandy? Chair old? Hair shone? Tone show, fleas. Fleas, tone show. December bee? Choose ‘un. December choosey. December bee? December bee? As Susan, Sally Hartley gives one of the most astonishing performances in local theatre it has ever been my pleasure to witness. Measured, believable, truthful, both vulnerable and strong and utterly convincing.The central character in Woman in Mind is, of course, Susan. She is a housewife who, in reality, is neglected by her husband, patronised by her sister-in-law, and estranged from her son. In her own imaginary world, by contrast, she is happy, successful, and loved by her perfect family. Susan remains on-stage throughout the play, and everything seen and heard on stage is what is seen and heard by Susan, both real and imagined. Susan was probably closer to a portrait of my mother in some ways, though it would be dangerous to say she was solely based on my mother. But the relationship with her husband Gerald had echoes of her own relationship with her bank manager husband. Never a good idea to marry someone solely for the good of the child which I believe she did. It usually ends in unhappiness for all concerned. Right from the outset the eerie lighting courtesy of the excellent technical team creates an atmosphere of otherworldliness and confusion, and the minimalist staging perfectly complements this focus on lighting to allow the imagination of Susan to be externally portrayed in a vivid and alluring way. Whilst the first act may have benefited from a change in lighting to give more momentum to the gradually developing plot, the second act marvellously manipulates lighting and staging to enhance the psychological themes and characters’ interactions, resulting in a highly charged and vivid act that brings out the true life of the characters and the issues that shape the play. His protagonist, Susan (Sally Hartley), following a concussion, finds herself embraced by the perfect fantasy family, a stark contrast to her patronising and distracted husband, Gerald (Pete Woodward) and her nightmarish sister-in-law, Muriel (Sarah Parnell).