Woman In Mind ⭐️⭐️⭐️⭐️

Woman in Mind is a play about a woman named Susan, who seems to be living a quiet, ordinary life until a minor accident in her garden fractures reality as she knows it. Upon awakening from a state of unconsciousness, Susan is stuck between two worlds. One is real, bleak, and emotionally distant; the other is idealised, filled with love, and entirely a figment of her imagination. As these realities begin to collide dangerously, Susan has a hard time discerning what is real and what isn't, giving way to something deeply unsettling.

Alan Ayckbourn’s Woman in Mind is one of those plays that sits comfortably in the British theatrical canon — clever, unsettling, and deceptively funny. This new production largely understands that balance, delivering a polished, audience-friendly version that knows exactly what it wants to say… even if it occasionally trips over how it says it. Dunster’s direction is good, clear, and concise. There’s confidence here, a sense that every moment has been considered and placed with intention. It doesn’t overcomplicate itself, and that restraint works in its favour, especially in a play where confusion is already baked into the narrative.

The set design by Anna Fleischle is genuinely beautiful. The abundance of foliage feels lush rather than cluttered, and the overall aesthetic is exquisite. I especially loved the safety curtain adorned with flowers — a small but striking detail that adds to the visual world. That said, one design choice sat slightly oddly with me. During the first major “world turning upside down” moment, the safety curtain was only partially raised, meaning actors had to dip underneath it to enter and exit. It’s clearly a deliberate choice, but one that distracted rather than enhanced, at least from my seat.

The video design by Duncan McLean is marvellous. It blends seamlessly with the set and enhances Susan’s fractured reality without overwhelming it. The psychedelic quality feels intentional and well-judged, echoing the play’s themes than shouting over them, something audiences online have also been responding positively to.

by Lucy Carter is gloriously simple but highly effective. The battens overhead provide strong, clean downlight and beautifully highlight the rain effects. The overall design supports the story without drawing attention to itself, always a win. My only quibble comes right at the end, where the blue flashing lights seemed to change pace without a clear reason, momentarily pulling focus away from the emotional climax.

Sound design by Ian Dickinson complements the production well, striking a careful balance between atmosphere and clarity. The soundscape enriches the world while ensuring every word lands, no small feat in a play so reliant on language and rhythm.

The costume design (also by Anna Fleischle) works brilliantly with the production, grounding the characters in a recognisable reality while allowing Susan’s imagined world to feel subtly heightened. Wigs, hair, and make-up by Campbell Young deserve equal praise, cohesive, thoughtful, and perfectly in tune with the overall aesthetic.

Ayckbourn’s book remains sharp, funny, and unsettling. There are moments where a touch more clarity might help the audience navigate the shifts in reality, but if I’m honest, that’s me being picky rather than a fundamental flaw.

Performance-wise, this is where the production truly shines. Sheridan Smith gives a polished, deeply believable performance as Susan. It’s the small details, the mannerisms, the timing, the quiet shifts in tone, that make her portrayal so compelling. You never doubt her emotional truth, even when reality itself is up for debate.

Romesh Ranganathan is a real highlight. In a landscape where celebrity casting can sometimes feel like a shortcut, he proves himself refreshingly grounded. His performance is superbly funny but also genuinely human. He plays a fully rounded character rather than a version of himself, adding unexpected layers of depth while keeping the humour light and accessible, something audiences have been praising widely online.

The rest of the cast are uniformly strong, and while naming everyone would turn this into an essay, it’s worth saying that the ensemble work is tight, committed, and consistently engaging.

This Woman in Mind is an assured, visually striking production with excellent performances and a clear directorial vision. While a few choices don’t entirely land for me, the overall experience is engaging, funny, and thoughtfully unsettling that largely delivers on its promise.