(The) Woman

Park Theatre

Playing until 25th October 2025

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Photo credit: Charlie Flint

{PR Gifted ticket}

After writing a hit play, M’s (Lizzy Watts) career was on a certain trajectory, but when she gave birth to her first child, people’s views of her and what they expect from her changed. Things got even more complicated for M when she had her second child, who was born with a severe medical condition, sending her on a downward spiral.

Though (The) Woman depicts the thoughts of misogynistic men to begin with, who fantasise the idea of strong and independent women, there is so much more depth to this. One by one, we are introduced more and more people in M’s life, including her husband, mother, parents from her children’s play group and even another woman who she shares a similar experience with when her second child was hospitalised.

Eager to tell a story that resonates with her, M pitches a story describing the struggles of motherhood to two producers (André Squire and Josh Goulding), but neither them nor M’s agent (Jamie-Rose Monk) have faith in this concept or that there is the audience for it, urging M to keep these stories to herself and work on clichés like suspense, thrillers and musicals instead. They are not alone in this, even M’s husband (Squire) and mother (Monk) are unable to fully grasp M’s experiences.

While appreciating the writer’s intention to display the ridiculousness of the producers’ suggestions of a baby that can foresee the future and solve crimes, the depiction of this scene towards the end of the play felt out of place and disrupts the flow of the narrative at that particular point of the story, especially after a heartfelt scene between M and her husband immediately before.  

Through a combination of these characters’ responses, Jane Upton’s script highlights just how unique and individualised each motherhood experience is. Such isolation and inability to fully confide to another human being is immensely frustrating, an emotional evolution that Watts is able to navigate and convincingly convey. Angharad Jones’s direction adds weight and intensity to M’s challenges and highlights the other characters’ lack of understanding to M’s unique situation.

M shared a similar experience with another woman whose child was hospitalised at the same time, which many would expect the two to have bonded by trauma. M herself also thought she could share some kind of kinship with this woman. However, the interaction could not be more awkward, cumulating in the woman played by Monk to terminate the meeting early due to their differing perspectives. M’s child survived while hers didn’t, serving as a painful reminder of her recent past.    

The set design by Sara Perks is simple, composed of two step-like structures and a couple of chairs on wheels, but able to transform into identifiable fixtures that paints a picture of the various scenes’ environment. This striped back approach allows the audience to fully immerse themselves in the power of the dialogue and its intent.

The society often has the misconception that people with similar experiences could be grouped together and by default understands each other. (The) Woman makes a compelling case that this could not be further from the truth and taht while motherhood could foster bonds, it is also a highly individualised experience. Life is messy, but so is motherhood.

Creatives

Writer: Jane Upton

Director: Angharad Jones

Dramaturg: Sarah Dickenson

Designer: Sara Perks

Lighting Design: Lily Woodford

Sound Design: Bella Kear

Movement Director: Lucy Glassbrook

Casting Director: Ellie Collyer-Bristow CDG