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over his own family life – two daughters married to wheeler-dealer stockbrokers and a wife probably cheating with another doctor – Bill reveals how he feels about her, and is about to kiss her when Susan points to Lucy. Bill tries to humour Susan by talking where Susan pointed, but Lucy has already moved away. Tony and Andy arrive, and suddenly, Bill becomes part of her fantasy – now a wheeler-dealer stockbroker poaching rabbits. His is thrown into the lake, leaving Andy and Susan to reminisce on their own wedding day. As he kisses her, Susan weakly protests “Oh dear God! I'm making love to the devil!”
772:-esque sinister and seductive ambiance. In addition, Julia Mackenzie also received many anecdotal stories of how members of the audience had been affected by the play, including a woman who couldn't leave at the end whilst her son said "Mum, Mum," a father and daughter who spoke afterwards about things they had kept silent for years, and an actor who came to her dressing room and cried. Alan Ayckbourn's own anecdote was of two women competitively boasting of how the play represented their lives.
385:. It was generally viewed that the play worked better as an end-stage production. However, Alan Ayckbourn later revealed that he felt it was harder to achieve the effect of switching between the two worlds. The problem, he argued, was that whilst the round only makes a scenic statement when one calls upon it to do so, the proscenium makes a scenic statement whether or not it is needed.
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is a heavily pregnant French maid, Gerald is an archbishop and Susan's real son Rick (now an odd-job man), to her horror, seems to be the groom for her imaginary daughter Lucy. All kinds of snippets relating to her real-life mesh together as a surrealistic nightmare. Ignoring Susan's protests, they all toast her, acclaiming Susan as precious to them all, demanding a speech.
297:. She is a housewife who, in reality, is neglected by her husband, patronised by her sister-in-law, and estranged from her son. In her own imaginary world, by contrast, she is happy, successful, and loved by her perfect family. Susan remains on-stage throughout the play, and everything seen and heard on stage is what is seen and heard by Susan, both real and imagined.
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to check on Susan, only to be drawn into Gerald's account of the book he's writing on the history of the Parish. Susan therefore takes the opportunity to talk to Lucy, who praises her for her status as a historical novelist, and then informs her (naturally Susan is the first to know) that she is getting married.
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Tony appears and opens an umbrella and the storm ends in time for what initially appears to be Lucy's wedding, but Tony and Andy appear to be some sort of race stewards, and Lucy, although dressed as a bride, seems to be taking part in a "brides race". Meanwhile, Bill becomes a clichéd bookie, Muriel
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In the sunset of her imaginary world, Andy caresses Susan and forgives her for being angry with Lucy. Susan, now worried by the increasing influence that Lucy, Tony and Andy have on her real life, tries to ask Andy to leave her alone. Andy says they will go when she asks but stays when Susan does so,
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The following day, Susan, dozing in the garden, is woken by Gerald. Now back in tune with the real world, she openly discusses the deadness of their marriage, something Gerald insensitively glosses over. Muriel serves “coffee”: ground coffee prepared as one would do instant. Indignantly Muriel points
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The play set over two acts. The first act can be considered as two scenes, the first scene one afternoon, and the second scene on lunchtime the following day. The second act commences almost immediately where the first act leaves off, and ends some time overnight, but as Susan's perception of reality
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At the time of going to press a high wall of secrecy surrounds this project. Some have the theory that the reason for this is to protect such highly original comic material from the risk of plagiarism. Others, more cynical, suggest that it could be due to the fact that the author hasn't started on it
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Back in reality, Susan finds Bill beside her (who fled on mention of a dessert but has now returned). Susan confides to Bill about her hallucinations, and when asked about Rick, tells him a semi-fantasy where he is getting married, and she has met her daughter-in-law to be. Having previously hinted
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In the real world, Bill agrees to stay for lunch (Muriel's "omelette surprise", where she mistakes the tea tin for herbs). Gerald makes excuses for the sect, until confessing that Rick is coming to sell the possessions in his room – something that horrifies Susan as this is all she has left of him.
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two years ago that forbids members from talking to their parents. He writes, but only to Gerald. Susan, hurt by this, blames this (and Rick's fear of women) on the public school scholarship Gerald bullied him to take. Susan is momentarily distracted by glimpses of Tony and Lucy, before Bill returns
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Susan awakes to a man tending to her speaking apparent gibberish, actually misheard
English (such as “Squeezy cow, squeezy” really meaning “Easy now, easy”). He is Dr. Windsor (or “octer bin sir”), and Susan suggests she's died and gone where no-one speaks English, and when Bill says "December bee"
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At an indeterminate time overnight, Gerald and Rick find Susan sprawled out in the middle of the lawn during a thunderstorm. Gerald tries to bring Susan inside, but she mocks him with an offer of a quiet divorce. It appears that Susan has burnt Gerald's precious book of the Parish, something Susan
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When Rick arrives, even Gerald has trouble bringing himself into the house. But before Susan can enter, her imaginary family brings her a sumptuous outdoor banquet and persuades her to dine with them instead. Rick then comes into the garden and, to Susan's surprise, asks her to come inside. As she
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After Bill leaves to fetch a cup of tea, Susan's husband (Andy), lovingly tends to her, joined by daughter Lucy and brother Tony, fresh from the tennis courts. All show concern for her welfare and tease her about the rake. Lucy and Tony fetch the ice, and Andy goes to cancel the ambulance Bill has
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When Bill returns, however, it is apparent something is not right. Bill sees a tiny garden, whilst Susan insists her garden is massive, complete with rose-beds, swimming pool, tennis courts and lake. Susan also denies having a sister-in-law or son and becomes more confused when Bill says that her
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The entire play takes place in what is, in reality, Susan and Gerald's tiny back garden. In Susan's imagination – and with it the audience's view – the same piece of grass becomes a small part of her imaginary vast estate (with trees, lakes and a tennis court all in easy reach), with a transition
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was completed a week earlier than he expected. Ayckbourn himself was conscious that this play was radically different from his earlier plays in that the audience is expected to engage with a character whose perceptions are unreliable. His agent was sceptical as to whether an audience would accept
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Originally intending to have a male central character, Ayckbourn found that a woman's voice was emerging, and felt that the public would be more sympathetic to a woman, and therefore he changed the sex. Ayckbourn has also commented that he did not want the central character to be a man in case
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is
Ayckbourn's most personal play and that a major influence on it may have been a breakdown suffered by his mother in the 1950s. He also suggested that Susan's relationship to her son may have been influenced by Alan Ayckbourn's relationship with his son Steven, at the time in a community in
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Rick leaves a stung Susan to explain this to Gerald, who says “it's not fair to lay all the blame at your door”. They get into a fierce argument, with Susan egged on by Tony and Lucy (by now sitting in on most of Susan's conversations). Lucy tries to console Susan by praising her status as a
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However, the West End production had a much better reception, with critics agreeing the play had matured and – in spite of
Ayckbourn's views to the contrary – that the play worked better in the Proscenium than the Round. Julia McKenzie was especially singled out for praise and won the
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At first, the imaginary characters are distinguished from the real characters by their white summery outfits. However, as Susan's mind goes out of control, the real characters start entering Susan's imaginary world, until it is very difficult to tell what is real and what is pretend.
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The final shred of reality is when Muriel says "The ambulance is on its way", and a blue light flashes. Susan's speech descends into the same gibberish Bill used at the beginning of the play, and, with a desperate request to "December bee", she collapses a final time.
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has no memory of. Then Muriel comes out screaming, having read a message of "Knickers off Muriel". She refuses all pleas to come inside, denouncing Gerald for narrow-minded meanness, Rick as a priggish brat, and Muriel for wanting a phantom pregnancy.
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considered to be an attack on organised religion. In his words, the play is "not only about an emotionally neglected middle-aged woman's descent into madness but also the failure of orthodox
Christian morality to cope with individual unhappiness."
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Susan wakes to find Rick still speaking to her, explaining that he has left the sect he and now has a girlfriend. Her joy, however, is short-lived when she learns they are already married and they are moving to
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suggesting she didn't really mean it. The scene becomes unreal, with Andy anticipating everything Susan says, then the voices of Susan and her imaginary family coming out of both their mouths.
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out she tended to her late mother, then late husband (or finished off, as Susan sees it) before digressing into her deluded conviction that her late husband's ghost will return with a message.
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In 2008, the play was revived at the
Stephen Joseph Theatre, again directed by Alan Ayckbourn. It had been intended for several years to revive this play with the lead role performed by
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The 2008–2009 revival was also generally received positively. In spite of this, the play closed one month earlier than originally intended and replaced with Duet for One by
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and received its premiere on 3 September 1986, closing on 4 July 1987. Again directed by
Ayckbourn and with design by Roger Glossop, the cast originally consisted of:
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brilliant heart surgeon. This time, Susan snaps at Lucy to shut up. Lucy runs off in tears, and Susan tries to apologise only for it to be accepted by Gerald.
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was eventually dropped. The play was eventually rescheduled for the autumn 2008 season, as part of
Ayckbourn's final season as artistic director.
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Although the original
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Contrasting Susan's own family are three imaginary characters, existing only in Susan's mind (and therefore visible to the audience):
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such an unconventional play, and as the publicity went out before
Ayckbourn had begun writing, an unusual brochure note was issued:
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Another theme is Susan's relationship to her son who has joined a cult that forbids communication with parents, in what play critic
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California (albeit not a non-speaking cult). This view is not shared by everyone, but it is generally agreed that
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audiences took the play to be autobiographical. Nevertheless, Paul Allen, Ayckbourn's biographer, believes that
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After a successful month-long run, it was announced that the play would transfer to the West End, again at the
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husband has not yet come home. When her real husband (Gerald) and sister-in-law (Muriel) enter, Susan faints.
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award for best actress for her portrayal as Susan. Roger
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When Gerald reminds Susan that their son, Rick, is coming for lunch, it transpires that he joined a
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The production was later recast, with Alan Strachan taking over the directing from Alan Ayckbourn.
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Bill offers to act as a go-between so that Gerald and Susan can communicate with their son.
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Helen Mirren appeared as Susan in a 1992 production at the Tiffany Theatre in Los Angeles.
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in 2007. It had a premiere on 6 February 2009, with a full run from 29 January to 2 May.
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derided the play for all characters, real or pretend, being Ayckbourn stock characters.
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viewpoint and is considered to be one of his most affecting works and one of his best.
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praised the play for Ayckbourn venturing into new darker territory (citing touches of
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is also said to be an influence. There are similarities to Ayckbourn's own play,
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between the two worlds largely achieved through changes in sound and lighting.
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was the last play written by Ayckbourn before his two-year sabbatical at the
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The American première was also successful, with Stockard Channing winning a
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Hepple, Peter (11 September 1986). "Woman in Mind at the Vaudeville".
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received its American premiere in New York on 17 February 1988 at the
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in which the narrator is revealed to be dead at the climax.
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in 1986 where it received predominantly excellent reviews.
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deteriorates, the passage of time becomes subjective.
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979:"An Introduction to Woman in Mind – Alan Ayckbourn"
300:There are four other real characters in the play:
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231:The Man Who Mistook His Wife for a Hat
119:A real garden, and an imaginary estate
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939:Alan Ayckbourn: Grinning at the Edge
811:"Woman in Mind (1985) – Productions"
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886:. alanayckbourn.net. Archived from
859:. alanayckbourn.net. Archived from
813:. alanayckbourn.net. Archived from
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1580:The Boy Who Fell Into a Book
1004:The Crafty Art of Playmaking
170:Woman in Mind (December Bee)
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1142:allgigs.co.uk 16 March 2009
1022:The Stage – Woman in Mind,
643:Musical Director: Paul Todd
549:Musical Director: Paul Todd
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16:32nd play by Alan Ayckbourn
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1524:Dreams from a Summer House
1314:Round and Round the Garden
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1559:The Champion of Paribanou
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1002:Ayckbourn, Alan (2003).
596:Christina Barryk as Lucy
526:Heather Stoney as Muriel
514:Caroline Webster as Lucy
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1826:Plays by Alan Ayckbourn
1552:A Word from Our Sponsor
1545:The Musical Jigsaw Play
1468:The Revengers' Comedies
1440:A Small Family Business
1426:A Chorus of Disapproval
546:Lighting: Francis Lynch
523:Russell Dixon as Gerald
154:A Small Family Business
145:A Chorus of Disapproval
103:Madness, family neglect
1349:Just Between Ourselves
1289:Absurd Person Singular
1240:Christmas v Mastermind
941:. Methuen. p. 9.
711:Absurd Person Singular
670:in the role of Susan.
666:and the cast included
660:Manhattan Theatre Club
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543:Design: Adrian P Smith
508:Barry McCarthy as Bill
377:, and adapted for the
375:Stephen Joseph Theatre
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244:Just Between Ourselves
240:Just Between Ourselves
216:Royal National Theatre
207:History and influences
197:first-person narrative
179:Stephen Joseph Theatre
82:Stephen Joseph Theatre
1566:Things We Do for Love
634:Design: Roger Glossop
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511:Robin Herford as Andy
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1680:Drowning on Dry Land
1296:The Norman Conquests
937:Allen, Paul (2001).
890:on 26 September 2007
1749:Neighbourhood Watch
1715:Things That Go Bump
1620:Damsels in Distress
1531:Communicating Doors
1282:Time and Time Again
1254:Relatively Speaking
1129:5 June 2011 at the
1096:Billington, Michael
984:. alanayckbourn.net
701:Damsels in Distress
1805:A Cut in the Rates
1800:A Talk in the Park
1788:Drinking Companion
1701:Improbable Fiction
1645:Snake in the Grass
1412:Intimate Exchanges
1391:Season's Greetings
1233:Standing Room Only
1114:See, for example,
977:Simon Murgatroyd.
882:Simon Murgatroyd.
855:Simon Murgatroyd.
779:for best actress.
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572:Vaudeville Theatre
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529:Tom Bowles as Rick
383:Vaudeville Theatre
251:Michael Billington
187:Vaudeville Theatre
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1792:Between Mouthfuls
1510:My Very Own Story
1475:Invisible Friends
1454:Man of the Moment
1370:Sisterly Feelings
1074:, 8 December 2008
679:2008–2009 revival
668:Stockard Channing
651:American premiere
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1308:Living Together
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706:Bill Kenwright
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630:Alan Ayckbourn
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579:Julia McKenzie
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220:Virgin Islands
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181:In The Round,
175:Alan Ayckbourn
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70:Date premiered
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42:Alan Ayckbourn
39:
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1784:Mother Figure
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1771:Mixed Doubles
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1759:One-act plays
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1742:Life of Riley
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1721:Life and Beth
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1708:If I Were You
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784:Tom Kempinski
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737:Blithe Spirit
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125:Official site
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24:Woman in Mind
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1424:
1417:
1410:
1403:
1398:Way Upstream
1396:
1389:
1382:
1377:Taking Steps
1375:
1368:
1363:Joking Apart
1361:
1354:
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1101:The Guardian
1099:
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986:. Retrieved
972:
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892:. Retrieved
888:the original
877:
865:. Retrieved
861:the original
819:. Retrieved
815:the original
781:
774:
770:J. M. Barrie
763:
760:
753:
749:The Guardian
747:
743:The Exorcist
741:
735:
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721:
709:
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682:
672:
664:Lynne Meadow
655:
654:
646:
639:David Hersey
623:
618:Daniel Flynn
585:Peter Blythe
567:
565:
532:
503:Ursula Jones
491:
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427:
423:
414:
410:
402:
371:in the round
368:
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323:Bill Windsor
322:
316:
310:
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256:
248:
243:
239:
236:Oliver Sacks
229:
223:
211:
210:
192:
191:
169:
168:
167:
152:
143:
111:Tragi-comedy
18:
1652:The Jollies
1261:The Sparrow
600:John Hudson
518:John Hudson
482:Productions
406:garden rake
183:Scarborough
86:Scarborough
73:30 May 1985
1831:1985 plays
1820:Categories
1779:Confusions
1496:Callisto 5
1328:Confusions
1247:Mr Whatnot
1226:Dad's Tale
790:References
637:Lighting:
628:Director:
537:Director:
379:proscenium
285:Characters
201:subjective
134:chronology
48:Characters
38:Written by
1766:Countdown
1072:The Stage
1006:, Faber,
988:3 January
912:The Stage
894:11 August
755:The Times
685:Janie Dee
614:as Muriel
608:as Gerald
566:In 1986,
412:ordered.
132:Ayckbourn
1638:RolePlay
1632:FlatSpin
1626:GamePlan
1613:Whenever
1127:Archived
821:20 March
581:as Susan
505:as Susan
487:Premiere
452:Thailand
389:Synopsis
867:5 April
620:as Rick
602:as Tony
593:as Andy
587:as Bill
520:as Tony
420:Scene 2
399:Scene 1
357:Setting
116:Setting
100:Subject
95:English
55:Muriel
53:Gerald
1768:(from
1599:Garden
1010:
945:
311:Muriel
305:Gerald
199:and a
158:(1987)
149:(1984)
51:Susan
1593:House
1204:Plays
982:(PDF)
445:Act 2
394:Act 1
295:Susan
108:Genre
63:Tony
61:Andy
59:Bill
57:Rick
1123:and
1008:ISBN
990:2010
943:ISBN
896:2007
869:2009
823:2010
740:and
430:sect
346:Lucy
340:Tony
334:Andy
317:Rick
65:Lucy
234:by
1822::
1798:,
1794:,
1790:,
1786:,
1718::
1635:,
1629:,
1596:,
1311:,
1305:,
1120:,
1117:,
957:^
921:^
831:^
798:^
786:.
734:,
408:.
1781::
1773:)
1622::
1589::
1298::
1188:e
1181:t
1174:v
1104:.
1025:,
992:.
951:.
915:.
898:.
871:.
825:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
