, In the Nose Bleeds - 28/07/2024

The interplay of past and present is fluid, and accolades must go to director Chris White (who I think was sitting beside me in the preview performance) for the simple techniques that allow this to happen onstage. I particularly enjoyed the clever use of lighting to signal the protagonist’s slide into her memories, whether it’s a lightbulb in a soup can that becomes a campfire, or a floodlight that becomes an ominous car headlight in the darkness.