Elsewhere, representations of women across a number of media flicker into brief life – the all-pervasive misogyny, the sexualisation of the standard portrayal of women (especially when playing ‘victims’), the compromises necessary just to get a job. And on Bunny Christie’s striking set of stairs, it certainly has a visual impact to accompany its thought-provoking story-telling. Marion Bailey as the theatre director is excellent at showing his appallingness, Sinéad Matthews is as punishingly effective as always at breaking one’s heart and I admired Michaela Coel’s spoken word work too.
So why didn’t I love it? I’m not entirely sure, to be honest. Men come in for a rough time (how could they not…) but it is hard to know exactly what to do with that, the team here aren’t concerned with offering answers or ways forward, leaving a slight sense of frustration (especially given how something like this
Now magazine cover got away scot-free, and I’m talking more generally than just this play here, I was surprised at how small the twitter-storm was for this compared to say,
dodgy slogans on t-shirts). It’s a Pandora’s Box to be sure but a bold and important move from all concerned.