Denise Gough makes a galvanising return to the West End with the reprisal of her Olivier award-winning role in Duncan Macmillan’s People, Places and Things. It’s quite extraordinary that even though it’s been almost 10 years since her debut as Emma, an actor who checks herself into rehab. Gough’s performance remains lively and invigorated.

Written delicately by Duncan Macmillan who while writing the play reached out to doctors, patients and experts. Which resulted in a very realistic telling of the ugliness of both addiction and recovery. Exposing the journey of an addict to an audience who are placed on either side of Bunny Christie’s eye-catching staging. Enclosed in a large cube boldly lit by four bright white walls, it felt sterile, clinical and almost cold. Christie’s ingenious idea of having a traverse audience created the impression of a mirror image. As well as giving a sense that Emma had nowhere to hide. On the surface the staging looked simple and plain – instead, it’s uniquely multifunctional, neatly tucking away scenery and props needed for the actors. The synchronous in James Farncombe‘s lighting design and direction was exquisite. In the chaotic moments, his lighting became more manic and disorienting, which raised the stakes and intensity. After the chaos unfolded we were plunged into quick episodes of darkness, this creative choice made it known Emma’s drug-fuelled high was over. The vulnerability I felt during the blackout made me sympathetic to Emma, even more so when in Act 2 she returns to rehab covered in bruises.

Jeremy Herrin’s masterful directing; created a highly energised and at times structured messiness. His brutally frank direction style showcased the grim process of withdrawal. His horror undertones during Emma’s withdrawal brought to life her hallucination of facing multiple versions of herself crawling out of the furniture and demonic voices of the orderlies. The calmness act two brings is a stark contrast, which symbolises Emma’s coming down. Herrin beautifully allows for so many tender moments during the play, where the characters are static and in the moment, he’s not afraid to welcome in the awkward silences. Which felt real and natural to me. It’s in these moments between characters where the silence speaks volumes and the actors flourish.

Macmillan and Herrin both effectively demonstrate that even though emotions most definitely run high and life can be messy, just being there for someone is enough. Shown in the therapy session when they apologize to each other who is filling in as an important person in their life. Emma is just standing there, saying nothing.

In this rich ensemble, each character is beautifully fleshed out; each having their imperfections. Everyone gives a faultless portrayal of faulted people. Different backgrounds and stories are evident in their therapy group, but regardless of their past experiences and traumas they undeniably support one another. To mention a few in this immensely talented cast – Malachi Kirby gives an honest portrayal of a no-nonsense patient to a caring orderly. His performance was exquisite; he was grounded and the calm to Emma’s storm. Sinead Cusack gave a sublime performance as all the mother figures switched from a medical professional to a caring therapist and finally a wicked, nasty mother.

At the core of this impeccable cast is Denise Gough, whose tour-de-force performance is like nothing I’ve ever seen before. Her rawness, vulnerability, comical timing and tiring physicality are worthy of every award. She’s stripped back, and peeled herself like an onion revealing all the layers/faces addiction has honestly. Embodying the story, dialogue and direction to make it more than just a performance, which was astonishing.

Macmillan’s play highlights the sad reality that not much has changed in the 10 years since it first premiered except minor incidental details such as mentioning Trump and COVID-19. But the ethos of the play is the same and all the more powerful; that people are fragile, places have different meanings to everyone and things affect everyone differently. This idea is perfectly summed up by Kirby’s character Mark who rightly says it feels like he is a “scream looking for a mouth”.

People, Places & Things is currently at Trafalgar Theatre till August 10th.

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