March 20, 1927, Albert Snyder is murdered by his wife Ruth Snyder in their home, making it look like a robbery gone wrong. Fast forward to January 12th, 1928, Ruth is taken to Sing Sing Prison, New York to be executed for her crimes. Overnight a photograph of her death was plastered on the front pages of every major newspaper with the headline ‘DEAD!’ Sophie Treadwell, a pioneer in both journalism and theatre attended the trial. However, she never published a single article on the case, instead on 7th September 1928, six months after the trial a play inspired by the case premiered on Broadway, this play is called Machinal.

Directed by Richard Jones, Machinal narrates the journey of an unnamed young woman, played by Rosie Sheehy in 1920’s America whose struggling with the societal expectations of women: work, marriage and motherhood. Jones ingenious direction contrives to make the audience feel the discomfort our female lead experiences, leading to her eventual downward spiral. This choice is aided by the brilliant stagecraft of Hyemi Shin whose narrow, triangular shaped stage confines all the action and cast, restricting their space for movement. This highlights the claustrophobic sense the character is feeling, shown in the first instance we meet her when she is packed into a subway train. Shin’s ingenious use of vibrant yellow walls which encases the story, emulates happiness which is a clear juxtaposition to the monotonous life we’re watching. Adam Silverman’s lighting is the final piece which holds this outstanding production together– by plunging the audience into complete darkness for what feels like a lifetime (3 minutes) and then pooling the stage in strobe lighting, both equally distressing.

Rosie Sheehy brings an outstanding portrayal as the lead from start to finish, keeping the audience engaged throughout and never once showing a sign of exhaustion as she provides us with what can only be described as a marathon of a performance. It is evident how much hard work Sheehy has put into this production and she truly understands her character physically, vocally and emotionally. With her exquisite performance and Treadwell’s writing, the play isn’t afraid to make the audience dislike Sheehy’s character at times, leading us to question our own morals and whether right and wrong is as black and white as we are socialised to believe.

The high intensity of the play keeps you on the edge of your seat. However, after the peak of the trial and conviction, we are given a break from the chaos in the form of Daniel Bowerbank. Locked in a cage Bowerbank’s sings about freedom, through his soothing yet chilling vocals, the lead is transported into the eye of the storm which allows her a moment of peace before her death: something the audience has not witnessed her experience yet. Enough cannot be said for the ensemble, who were the glue for this production. Executing Sarah Fahie’s choreography with precision and grace, aiding in setting the scene and subtly moving set pieces and props around seamlessly in such a small space, all the while remaining present within their performances.

The play is not an easy watch or a joyous trip to the theatre lasting approx. 100 minutes, with no interval. That being said, I do believe it is an important piece of theatre, discussing the pressures surrounding woman in society, which is still prevalent today.

Machinal is playing at The Old Vic until 1st June.

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