It's a story. A long story, so the audience only hears part of it – although a longer length would not be a detriment to Green Door, a one-woman performance by Ann Brown.
Brown seems casual as the audience enters the space, smiling yet reserved – it's a welcoming moment, without pretence, and the transition into the performance seems natural and gentle. Indeed, the production itself remains gentle throughout the opening moments, Brown's warm and likeable personality shining through as she tells of the journey she underwent over many years. It's a journey through an abusive, draining relationship, from the first heady moments of an instant crush, into the years of shocking violence, and out as a strong woman determined to tell her tale to as many people as she is able.
Green Door is both thought-provoking and thoughtful, a story which steers away from sensationalism and delivers a human element behind domestic violence headlines. At the climax of the story, the use of blackout was a powerful, effective choice which heightened intensity while also offering an isolation for the audience to experience the harrowing words individually, the darkness providing a blanket of security without detracting from the atmosphere; on that note, the lighting design throughout the piece was excellent, as was the direction. The sound, on the other hand, was unfortunately occasionally too loud, drowning out Brown's monologue and detracting from the storytelling.
Brown's performance itself is quietly compelling, although further differentiation could be developed between when the audience is being addressed and when different characters (including Ann from the past and the various other players she meets) are being performed, particularly in tone and mannerism. Further, while pace was overall very good, some extra moments could be taken to allow the audience to enjoy the moments of humour; the humour is used well, and the small pauses before and after the delivery of a funny line can be when an audience is drawn in the most, particularly if a performer shows their amusement too.
The monologue we heard was short and potent, although a longer version which perhaps added more to the lead up and the epilogue would also work well. Green Door is real, raw, and powerful, at times difficult to hear, but unfortunately an all too relevant piece for many.
Hopefully, Brown will realise her dream to tell the full story to as many people as possible. Green Door is being performed at 53:Two, on the 9th and 10th November – with luck, it will be put on again, and it is well worth a watch.
Reviewer - Hannah Torbitt
On - 8/11/18
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