Review: THE WRITER, Almeida Theatre

Ella Hickson premieres The Writer, a momentous new play about the patriarchal cage of the theatre business.

After the success of Oil in 2016 (also at the Almeida), she now challenges the status quo through a young writer who wants to change the world. While her main character is being kept down by the narcissistic tendencies of the industry, she soars with a metaphoric and poetic piece.

Hickson strikes a nerve with her story of toxic masculinity and egocentrism, of female writers and of the need to make the world a better place. At the same time, she brings into the picture a discourse of artistry and the capitalisation of art with bittersweet humour. It's a work that screams out the insecurities and pure anger of being a woman who writes for a living.

Her female characters are antagonised and shut down by their male counterparts, even with the latter not necessarily meaning to; in the end, the Writer's (Romola Garai) Boyfriend's (Samuel West) attitude is as harmful as the Director's (Michael Gould).

The Writer's inwardness is the epicentre of the play. Her struggles with wanting to make a difference in the world through theatre clash with her Boyfriend's wishes to have a better life and with her Director's hopes for a huge commercial turnout. She instantly finds out that creative gain comes with a price and the internalised misogyny combined with the patriarchal pressure of society eventually take their toll.

Directed by Blanche McIntyre, The Writer's presentation appears as progressive as its writing. The story plays out on a rather bare stage, furniture and pops scattered around, backstage bits here and there. The stage crew is almost turned into characters in the show, having to manoeuvre the hidden walls and set-pieces designed by Anna Fleischle.

The dazzling script is a joy in the hands of the bold company. Garai alternates demureness with passion: the stars in her eyes hide her troubling Weinstein-like experience as she denounces the Director through writing. From the alter ego of the Writer to her Girlfriend, Lara Rossi brings a different emotional sphere to the show.

The actress says words the Writer couldn't say, stands up to the male gaze like she would have wanted to but initially couldn't, and ultimately calls the Writer out with a gargantuan metaphor.

The actors are as enlightening as they are. Gould and West are the stand-ins for too many men in every woman's life: they stand tall and strong in an aura of toxic masculinity, waving around their egos and hiding behind false generosity.

Richard Howell curates the lighting design with moody illumination, sudden blackouts, and the addition of videos (by Zakk Hein). His contribution is crucial from start to finish: from the lights in the house not descending until the second scene to the different vibes of the Writer's heartfelt monologues, he grounds the audience in the moment.

Hickson's work shines a light on manipulation and gender politics, showing the inner workings of the theatre industry. With the rise of the #MeToo movement, this play is a voice that needs to be heard, even though it certainly isn't flawless. Running at two hours without an interval, the changes of tone in the piece are quite sudden and tend to make the play feel briefly disconnected within itself.

This is, however, meaningful in the grand scheme, especially when reading the work allegorically. Both the presence of the Director lurking on the stage but outside the proper set where the action takes place, the stage management being present as silent characters on stage, and the jumping back and forth with tonality are all representative of the Writer's reality.

The Writer speaks up on behalf of a generation that's decided not to be silent, and Hickson wraps up the politics of the business, the misogyny and the harassment in powerful and intense writing.

The Writer runs at Almeida Theatre until 26 May.