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Alan Ayckbourn’s Woman in Mind is not an easy watch. Nor is it meant to be.
This revival leans fully into the discomfort at the heart of the play. What begins as a familiar suburban scene quickly fractures into something more unsettling. Susan’s internal battle with her mental health is laid bare, and the audience is asked to sit with it rather than escape it.
Ayckbourn’s script is slippery. Reality and fantasy blur without warning. Moments of warmth are undercut by something darker. There are moments of humour, but it rarely offers relief. Instead, it sharpens the unease.
The design plays a key role in that. The set is detailed and visually striking, but it also disorients. Spaces shift. Scenes overlap. At times, it adds to the confusion of the narrative rather than clarifying it. That won’t work for everyone, but it feels in keeping with the world of the play.
At the centre is Sheridan Smith, delivering a tightly controlled performance. Her Susan moves between brittle reality and imagined escape with precision. It’s a careful portrayal of someone unravelling, never overstated.
Alongside her, Romesh Ranganathan is a strong and surprising match. His presence grounds the piece, offering contrast without undercutting its tone. The pairing works better than expected, bringing a natural rhythm to their scenes together.
The play is enjoyable, but not entertaining in a traditional sense. It doesn’t offer easy laughs or clean resolution. It lingers in uncomfortable territory and asks the audience to do the same.
That makes it thought-provoking, but also divisive. This is a production that will split opinion. Some will find it compelling. Others may struggle with its lack of clarity and emotional weight.
Woman in Mind at Theatre Royal, Glasgow until 14th March 2026, then touring
