Invisible Me

Invisible Me has a trio of overlapping monologues which explore the anxieties that come when reaching one’s sixties and facing a future that is lived in retrospect.

Writer Bren Gosling has developed a structure that is both entertainingly, engaging, and easy to follow. There’s plenty of humour woven throughout, and the piece is undeniable laugh out loud in places, with sharp observations.

However, while the play touches on themes of ageing and the desire to reclaim a sense of purpose before it’s too late, it feels somewhat unrewarding. The play skims the surface, focussing more on the external circumstances of ageing, rather than the deeper internal struggles that could give the material greater emotional weight.

There is also a slight disconnect between the characters’ perspective and their supposed age. At times, their attitudes and discussions suggest that they should be older, which tends to undermine the authenticity of their experiences.

Scott Le Crass’s direction is crisp and keeps the play moving at a slick pace, making clear choices in staging the overlapping monologues so that each voice remains distinct. Transitions are slick, aided by Jodie Underwood’s clever lighting on David Shield’s simple but clever playground of a set. Combined they give a strong sense of rhythm throughout. Though there are times when it feels as though the production leans into pace and polish at the expense of stillness. Moments where the characters might have been allowed to deepen their vulnerability to better effect.

That said the performances by Tessa Peake-Jones, Kevin N Golding and James Holmes are excellent, bringing energy and nuance to the piece and ensuring it remains consistently watchable.

It’s an enjoyable 90 minutes, often funny, that audiences will undoubtedly warm to. But despite its charm and craft, it never lands the emotional punch it’s subject matter seems to promise.


Photo credit: Harry Elletson