Simon Ward reviews Rosie’s Brain at the Hope Theatre

Evelyn Rose, writer, producer and performer of this one-woman tour de force is a whirlwind of energy. From Rosie’s over-enthusiastic entrance as she arrives at college to her inhabiting of all the other characters in the story, there is no let up. She also plays guitar and sings her own songs. Yet this seemingly semi-autobiographical show reveals that underneath, or behind, this relentless drive, is a nagging sense of anxiety, even worthlessness. And the piece goes a long way to explain how those two apparently contradictory things can be true at once.

Rosie takes centre stage, musical director and keyboardist Laoise Fleming to one side, Rosie’s guitars to the other. Her confessional delivery draws us in to her world, and, indeed, into the inner workings of her mind – the ‘Brain’ of the title. Her apparently ‘normal’ upbringing and childhood is afflicted by more and more external evidence of the ‘monster’ she describes as lurking in her brain. She is engaging, funny and irrestibly charming throughout even, or perhaps especially, when her behaviour is strange or challenging. It is a difficult balancing act to maintain – on the one hand we need to understand the problems that Rosie faces with her mental health, whilst on the other we need to be entertained and amused. Co-directed by Lucrezia Galeone and Josh Vaatstra, Evelyn Rose pulls it off brilliantly. A word, too, for the lighting (Karim Shohdy, tech, Charlotte Horner, stage manager) which is used to powerful effect as Rose switches between characters and scenes.

Another balancing act in a show like this is between the narration and the songs – the need to maintain the storyline thread while delivering the emotional punch of the music. Again this is achieved to perfection. There is a lovely melding of music and narrative where each adds to the other, and the music always moves the plot forward or deepens our understanding of Rosie’s feelings. The standard of Rose’s writing is outstanding – Rosie is a fully realised character, but the sketches of the various supporting roles are equally vivid – the childhood friend, the mother, the therapists, the wannabe boyfriend, the actual boyfriend.

I won’t deny a moment of anxiety when Rosie first bounds into the room, all smiles and handshakes. This is undeniably an American show, and I feared that we might be in for an over-the-top bombardment of emotions. Fortunately, this was just the beginning of a rollercoaster ride of light and shade, helped enormously by the well-judged and beautifully played music. Even the most curmudgeonly could not fail to be won over by a performance of such empathy, insight and wit. It would be wonderful to see this opened out and given a longer run in due course – in the meantime, there are a few days left to enjoy the special thrill of seeing excellent work in an intimate space, so grab tickets if you can. You won’t regret it.

Rosie’s Brain is running at the Hope Theatre, 207 Upper Street, London N1 1RL until Saturday 8th February