Joanne Ryan

In Two Minds

02/08/24

Traverse Theatre, Edinburgh

Joanne Ryan’s affecting two-hander explores the complex bond between a woman and her mother. Daughter (Karen McCartney) cherishes the tranquility of her minimalist studio apartment, but Mother (Pom Boyd) needs somewhere to stay while she’s having an extension built. Over the course of her protracted visit, their fragile relationship is pushed to breaking point.

It’s not just the accompanying clutter that grates on Daughter’s nerves. It’s the incessant talking, the veiled (and unveiled) criticisms, the sleeplessness – it’s all an intrusion into her hard-won peace. And she feels guilty too, because none of it is Mother’s fault. She has bipolar disorder.

Both Ryan’s script and Sarah Jane Scaife’s direction deftly convey how accustomed the characters are to Mother’s episodes. They’re not fazed; they have been here too many times before. There’s no dramatic reaction to her illness, rather a weary, frustrated sense of here-we-go-again. They know how this plays out and they know what they have to do. Over the years, they’ve learned to protect their relationship by maintaining some distance; forced together, it begins to disintegrate.

Boyd’s performance is flawless. She perfectly captures Mother’s brittle façade: her inability to stop talking, even when she knows that she’ll regret her words; her vibrant exuberance; her torpid misery. McCartney too is utterly convincing, clinging desperately to her career, trying to care for Mother without losing herself.

Alyson Cummings’ set embodies the quietude Daughter craves: simple, unfussy, light and clean. As soon as Mother enters, we can see the disruption she brings, even her kicked-off shoes a reproach to Daughter’s obsessive tidiness.

I’m not usually a fan of lengthy scene transitions and too many props, but Scaife uses them skilfully to illustrate both the passing of time and the steady accumulation of Mother’s belongings. The tension in these moments is further heightened by Rob Moloney’s unsettling sound design.

In Two Minds is a clever play, at once discomfiting and heartwarming. As well as an unflinching examination of the impact of mental illness on the protagonists’ relationship, it’s also a love story of sorts, and sure to be a success at this year’s Fringe.

4.2 stars

Susan Singfield

Edfest Bouquets 2017

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It was another fantastic three weeks at the Fringe for us. We crammed in as many shows as we possibly could – and still barely managed to scratch the surface. Here’s our pick of the best we saw this year. Congratulations to everyone mentioned.

Theatre

Seagulls – Volcano Theatre

Peer Gynt – Gruffdog Theatre

The Power Behind the Crone – Alison Skilbeck

Safe Place – Clara Glynn

Pike Street – Nilaja Sun

 

Comedy

The Darkness of Robins – John Robins

Kinabalu – Phil Wang

Dominant – John Robertson

Mistress & Misfit – Shappi Khorsandi

Oh Frig, I’m 50! – Richard Herring

 

Story Telling

One Seventeen – Sarah Kendall

These Trees the Autumn Leaves Alone – Will Greenway

The Man on the Moor – Max Dickins

Eggsistentialism – Joanne Ryan

Blank Tiles – Dylan Cole

 

Special Mentions

The Toxic Avenger: The Musical – Aria Entertainment & Flying Music

Up Close – Chris Dugdale

The Cat Man Curse – Pelican Theatre

Cathy – Cardboard Citizen Theatre

Well Meaning, but Right Leaning – Geoff Norcott

Joanne Ryan: Eggsistentialism

07/08/17

Summerhall, Edinburgh

Eggsistentialism is an absolute gem of a show. Written and performed by Irish actor Joanne Ryan, it tells the very private story of a woman trying to decide whether or not she’d like to have a child. But it’s a lot more than that: it’s also a history of Ireland and its social, sexual history. Deftly constructed, so that it feels light and palatable even when it’s punching hard, this is a clever piece of work, which made me laugh out loud, but also brought me to tears.

Ryan is an extremely engaging performer, with wit and warmth enough to envelop her audience. There are animations too: this is a multi-media piece. But it never feels heavy-handed, or techy-for-the-sake-of-it, like such things sometimes do. The animations here are charming and quirky, and used to excellent effect, contextualising Ryan’s modern-day dilemma and adding layers of meaning to the fears she faces. Veronica Coburn’s direction is lovely too: there’s an ease and subtlety to the whole production, which makes it most enjoyable to watch.

This is a must-see: a deeply personal play with universal appeal. Don’t miss it.

5 stars

Susan Singfield