Gareth's Culture and Travel Blog

In my view it’s one of theatre’s roles to put up a mirror to our society. Another is to entertain. This play examines the impact of recent welfare changes on the disabled. It managers to do both successfully, and perhaps surprisingly, though less so given it’s written by a stand-up comedian with cerebral palsy who refers to her condition as wobbly.

Jess has a successful career as a therapist. Her parents have been very supportive, as is her flatmate Lottie. She has a lovely Polish carer called Nadia who often goes way beyond her responsibilities. She introduced Jess to Poppy, a younger disabled woman with an extraordinary love of life and bags of energy, charm, cheek and an infectious naughtiness. They are both hit, in different ways, by the introduction of assessments. Jess loses her car and ultimately her job. Poppy becomes bed-bound for 12 hours a day.

Though both challenge their treatment, they react differently. Jess fights back using the appeal process, Poppy gets angry. There’s a pivotal scene at the beginning of the second half at a public meeting with their MP. His responses to theirs, and others, questions is patronising and dismissive. Some in the audience air their views of benefit scroungers and the failure of disabled people to just get on with it and stop whinging, though it soon transpires that some may be plants, so it’s unclear if their views are sincere or stage-managed. Jess makes an important connection with a referred client with alcohol addiction and after his initial dismissiveness of therapy she breaks through, they bond and the connection becomes significant.

Government policy targeted at benefit fraud has created much bigger issues for disabled people. The assessment process isn’t fit for purpose (best judged by the extraordinary number of successful appeals) and the squeeze on the caring services has created more vulnerability and dreadful treatment of the carers, whilst the contractors continue to profit. I’ve long been ashamed that I live in a country which has allowed this to happen, so I guess the play is preaching to the converted in my case, but it isn’t preaching, it’s presenting facts which anyone who approaches them objectively can process for themselves. Given playwright Francesca Martinez’ background, it’s perhaps not surprising that it’s littered with laughs which sit comfortably with its campaigning message and prevent it from becoming too earnest and mawkish.

The playwright plays Jess herself in a fine understated performance, with Francesca Mills brilliant as Poppy. They are supported by a fine ensemble of fifteen other actors.

Important and urgent theatre.