Theatrical events are often described as being based on true stories, but in this instance, that claim is true, with Park Theatre staging the European première of Tawni O’Dell’s powerful personal account of the aftermath of her daughter’s rape.
In the off-Broadway production, Tawni played herself, but for this production, Amanda Abbington takes on the mantle portraying Tara, the central voice in this uneven but often impactful piece.
The play is an unflinching look at the wake of destruction left behind following the events of one fateful night in which normality was shattered and lives changed. Amanda Abbington’s Tara is seemingly factual, pragmatic and even witty, but her physicality gives her away. The format of direct address with events described in the past allows for her to embody the undercurrent of emotions, a mother doing her best to hold everything together. She gives an earnest and raw performance that could have been either hysterical or cold in the hands of a lesser actress.
As her adult children, Rosie Day and Miles Molan provide anchors to the piece, flitting in and out of Tara’s tale to represent memories or heighten an emotional moment. As Esme, Rosie Day is a fragile sight, crumpling into corners while giving a vocally robust performance full of pain. Her character does not want to be defined by her status as victim, but unfortunately, due to the structure of the script, this is all the audience see of her. Similarly, Molan’s Connor is largely undefined, but he makes the most of the material, including an explosive speech full of rage and regret that signifies his growth from spoilt little brother to protective man. As ‘Multirole Male’, Tok Stephen pitches his performance just right, gently lending each cameo characterisation whilst never diverting focus.
In this regard, When It Happens to You is a curious theatrical mix. The small cast and use of direct address attempts to elicit intimacy, but the performative presentation of the memories and additional characters almost gives a Brechtian air, aided by the stark set and lack of props. No one leaves the stage during the 85 minutes of performance, all listening, watching and ready to step into the unfolding story.
Director Jez Bond tries to inject a sense of family and of closeness through wordless interaction and profound looks, but there is as much physical as there is emotional distance here, and it’s hard to believe these characters exist for each other outside the realms of Tara’s (almost) monologue. A beautifully played revelation towards the end of the piece is sadly unsurprising, a depressing comment on society and its treatment of women.
However, for all its heaviness and pulsating anger, When It Happens to You is not a bleak play; the central theme is love, and although documenting a family on a downwards spiral, there are moments of levity. It is not sensationalist, but, in some ways, the reflective tone makes it even more brutal; life after all, in whatever shape, will go on. It is a tough but necessary story to tell, and refreshing and upsetting to explore what happens after such a terrifying event—the sentencing and conviction a footnote, not a finale.