Review: 384 DAYS, Pleasance Theatre

Theatre has the power and the ability to transform even the heaviest of topics into pieces of art. And that is exactly what 384 Days is - a tragic and twisted insight into a very raw and real, silent epidemic. 

When Molly’s father passes away suddenly, she is sent into a world of confusing thoughts and psychiatric insecurity. Weighed with the guilt of not being able to save him, despite doing everything she could, Molly finds her saving grace - magic. A rookie magician with one task: bring her dad back to life. Set during her possible release evaluation, on day 384 of being in the psychiatric ward she has been placed in, audience members play the part of the review team in a fourth-wall-breaking play about a demographic that has been shunned.

It’s her late father’s birthday, and Molly is determined to carry out her daily routine of performing her magic show. When her schedule is interrupted by Nurse Eileen (Niamh Drumgoole), Molly must quickly prepare herself for her review session. All seems to be going well, and there is real hope for Molly and her ‘escape’. However, darker thoughts and themes enter the stage through the use of a group chat she is in and suddenly, not everything appears to be how we once thought it was.  

Following a sold-out run at The Cockpit last year, 384 Days is back with a reimaging of the initial production. Using an all-new set (designed by Faith To and laid out in the style of a drawing on paper - leaving the question of what is real and what isn’t) and full-scale projections/animations (created by Ella Corrieri), the play fully immerses audiences for the full hour and a half run-time in the head of its lead character - Molly.

Megan Ita O’Rourke is the genius behind 384 Days, while starring as Molly and writing the entire piece. Taking inspiration from a poem she wrote after her own father passed away, O’Rourke turned her thoughts into a concerningly witty and twisted play that has you both rooting for and terrified of her character. With her natural humour and ability to bounce off the audience’s unscripted interactions, O’Rourke is a master at leaving the ‘review team’ unsettled and hanging onto her every word. 

A moment that really stands out in showcasing O’Rourke’s gift of performing is when she bounces between the characters of Molly and Laura in a split second between each line. Her talent in shifting her accent and mannerisms in a single moment, all while never once dropping a beat, is something to be in awe of.

Directed by Theo Collins (director of the initial debut production) and assisted by Issey Vogel, the play will have you wanting to hug your loved ones close and hold onto the edge of your seat in anticipation of what will happen next. The pace of the play has a constant fluidity, allowing the reactions and reception of the audience to determine the speed and direction of the play. Watching Molly’s psyche deteriorate in real-time allows viewers to grasp onto any sanity she had left and really hold out hope that she will be freed. 

Some plot points aren’t fully explained, but, as an audience member, you don’t feel as though they need to be answered. In fact, you’ll leave the theatre accepting that some things are better left undiscussed.

384 Days is a true marvel for psychological play lovers and those who want to be in awe of genuine creative talent. O’Rourke is not just an actress; she is a master of the arts who humanises characters that the media often doesn’t. 

384 Days is at Pleasance Theatre until 16 October