The comic poet of middle class life, always so very funny, goes deeper and darker in this triumphant play about a housewife named Susan who is married to a boring cleric named George. After getting knocked out by stepping on the tooth end of a garden rake, Susan experiences hilarious hallucinations in which her oppressive and boring everyday life is replaced by a fantasy in which she is an ideal wife and mother with an ideal family. While her real family treats her with condescension and apathy, her fantasy family dresses in lovely white, always drinks champagne, lives in a stately home and tells her that she is wonderful. Eventually, the fantasy family becomes nightmarish and Susan begins to realize that she is going mad.
As Susan, her emotions are always bubbling beneath the surface: in the ‘real’ scenes, she is buttoned up, foot tapping, eyes drifting around the room; in her imagined sequences she grins dreamily, bathed in Lee Curran’s warm lighting, and memorably gives herself over to the fantasy during an ecstatic rainstorm. Smith often appears to be on the edge of both tears and laughter, but her vulnerability is truly laid bare as the show’s hallucinatory quality turns sickly during a bonkers, nightmarish denouement.
Susan is a lonely woman, yearning for affection and purpose, but Smith also presents her sharper edges; her meaner comments have harsh acidity. Always a performer to bring every emotion to a role, Smith shows a gradual mental disintergration, becoming increasingly fractious as she grapples with what is real and what is fantasy. Her movements become more uncontrolled and her voice increasingly tinged with desperation.
| 1988 | Off-Broadway |
Off-Broadway |
| 2025 | West End |
West End |
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