Entering the Tanya Moiseiwitsch Playhouse, the atmosphere was one of anticipation. The only actress in the performance was already on stage, with lighting and ambient music that enhanced the intended setting. There was minimal staging, with only a wooden high stool, a side table, and an armchair. Tuesdays at Tesco’s is a work in progress being shown as part of the Sheffield Theatre’s Open Works Festival. Emmanuel Darley is the original playwright, but Mariah Louca performed the English text by Matthew Hurt and Sarah Vermande for this showing.
The play follows Jacqueline, who, without fail, visits her father every Tuesday in the town where she grew up. She does all the typical housework and goes with her father to Tesco for his weekly shop. Everyone in her father’s hometown knows who she is, well, at least who she was before she left. The constant struggle of advocating for her identity is the central theme of the play.
The acting was incredible. Louca herself explained during the Q&A discussion, hosted by Andro and Eve, after the show that the number of lines was much more than she had expected for a one-person show. There was a lot of repetition of lines to fit with the persona of a suburban South Yorkshire accent and to understand the meaning behind these dialectical mannerisms. The use of key phrases such as ‘pity that’, delivered as the father’s voice, allowed transitions to moments of reverie within Jacqueline’s inner monologue. This switching between her inner monologue and what she said in the moment allowed the audience to feel the rawness of her emotions and to gain insight into the constant conflict.
While the staging was minimal, the use of sound and lighting throughout the performance effectively marked points of transition. With the large amount of dialogue, it was helpful to have associated lighting when the internal monologues were dropped in, as there was no structure for when they occurred. It was very naturally based on a certain comment or action that elicited Jacqueline’s need to express what she was really feeling. There was no overuse of sound to depict actions when no props were used. This was a good touch as it did not impede the flow and focus of the performance. However, having more staging would have heightened the emotional moments and given Louca more to work with. Louca, herself, mentions this while discussing the direction she wants to take the play in the future.
Overall, I thoroughly enjoyed this performance, with the themes resonating on a very personal level. Being able to relate to and see emotions and thoughts I myself have felt put into words and action is something I look for in theatre performances. Jacqueline’s affirmation throughout the play that she is real and has always been and will always be herself is a strength I admire greatly.
Rating:★★★★☆
