REVIEW: A Lie of the Mind
- Babette Shaw
- Jan 12
- 3 min read
I went into A Lie Of The Mind totally blind. Having no knowledge of Sam Shepherds works or
this play I didn't know what to expect. Audiences are greeted in New Theatres auditorium by a simple yet effective set that immediately evokes images of small town America. This production
is a remount of the group's graduating performance from drama school back in May 2025.
The pre-show music is a mix of Americana folk and country which only strengthens this idea.
The set was designed by director Johann Walraven. Two of the eight actors wait onstage as the
audience enters, which is repeated often throughout the piece - an actor waiting in the dark
while the other scene continues. This, alongside with the live music accompaniment, helped the
transitions feel intentional and created a nice cohesion throughout the play.
The cast of eight actors (Abaigh Curry, Amos Walker, Felicity Cribb, Finn Couzner, Indiana
Jamie, Libby McAneney, Lily MacNevin and Lisandro Garcia), who also acted as the musicians,
displayed great dedication throughout a piece that isn’t easy. Shepherd's text weaves between naturalism and absurdism, which Jay Murrin’s lighting assisted in creating to a degree. Our young cast were clearly passionate about the piece and made lots of bold choices on stage.
Special mention goes to Libby McAneney who played both violin and harmonica alongside
singing - although she wasn’t the only multi talented cast member on stage.
Although the choice to have the actors accompany transitions live allowed for a display of their
other talents, I feel it muddied the characterisation and lowered the stakes of many of the
piece's key scenes. The actors themselves didn’t show the differentiation from character to
musician and so I was often left confused - was this moment in world or out of it? Additionally
moments of emotional intensity often fell flat, anger or frustration displayed via loud voices as
opposed to a display of genuine emotion. This meant that even at the end of the piece I felt a
tad confused - was that it? The build was lacking. The show then ended with a jaunty country
song accompanied with flashing colourful lights. Had the rest of the piece connected fully with
the surreal aspects of the show this could have made sense, however instead it was a bizarre
moment of disconnect that lasted too long (as all the songs did, in my opinion. In a two hour
show did we need 3 minute songs? A chorus and verse may have sufficed.)
I feel the opportunity to assist the emotional journey of the play with the visuals was missed. The lighting mainly oscillated between two clear states which whilst effective at aiding the audience to
understand the two separate places we found ourselves in, did little else to carry the piece.
Moments of surrealism in the text were played in naturalistic lighting - making the actors have to
work twice as hard to legitimise the action and often creating awkwardness.
The play itself is a deep dive into gender roles, displaying masculinity as the all consuming fire
and women as the wood - consumed. Brief moments of humour alleviate a tense and often sad
piece of theatre, specifically for the mothers who are both trapped in unfulfilling lives. An
interesting night at the theatre that started my education on a playwright that the New York
Times described as ‘the greatest American playwright of his generation’.
'A Lie of the Mind' is playing at The New Theatre until the 24th of January
