Sarah Jones reviews Invisible Me, a ‘glorious’ and ‘multi-faceted’ portrayal of loneliness, reflection and human growth set here in Waltham Forest
It felt, at first, a little unnecessary to travel to Borough for comedic theatre this week.
With the deliciously eclectic offerings of Soho Theatre (Stowho), Red Imp Comedy Club at both the Rose & Crown Theatre Bar and the Tradesman’s Hall – all within walking distance of Walthamstow Central – there’s very little reason these days to leave E17 at all.
But Invisible Me, written by Bren Gosling and currently playing at Southwark Playhouse (until Saturday 2nd May), is more than worth the tube fare. It’s a glorious, multi-faceted and deeply observed portrait of loneliness, reflection and human growth—shot through with both genuine pathos and moments of real humour.
Best of all, it’s set here, in Waltham Forest.
Three beautifully drawn, socially isolated neighbours meet by chance as we witness their shared existential reckoning with turning 60, each expressed through monologues steeped in wistful regret.
We meet Lynn (Tessa Peake-Jones), a friendless divorcée paralysed by lifelong social anxiety, tentatively contemplating a bold new side hustle beyond her cleaning job at the local Travelodge. Jack (James Holmes), who has lived quietly with HIV alongside his loving partner for 35 years, now finds himself bereft and increasingly agoraphobic following his husband’s sudden death -achingly communing with his memory.
Alec (Kevin N. Golding) offers a stark contrast: once effortlessly charming, he now grapples with the slow erosion of his looks and the hollow legacy of a life built on superficiality. Estranged from his children, he is forced to confront the consequences of casual homophobia and emotional detachment.
This is deep, often dark material, touching on adult themes of domestic violence and sexual identity, yet it is handled with sensitivity and care.
Originally conceived during the pandemic, Gosling’s writing captures the isolating nature of our individual “bubbles.” Each monologue varies in rhythm and length, but together they form a cohesive and affecting whole. Scott le Crass’s direction is exquisite – almost musical in its fluidity – guiding the piece with a sense of quiet orchestration.
David Shields’ raised set, with its staggered vintage tiles, subtly evokes the authentically 1970s Trades Hall, while just three chairs are passed between the actors like batons in a slow, balletic relay. Jodie Underwood’s lighting design draws inspiration from the same space, and the choreography allows each character’s story to unfold with clarity and emotional balance.
There are affectionate nods to Hoe Street, L’Hirondelle, and – most memorably – the unapologetically authentic Trades Hall itself, where our superb cast finally let loose at a joyous over-50s disco. It’s a moment of release, of connection, of pure, hard-earned abandon.
The result is mesmerising and life-affirming -a denouement that feels both deeply earned and quietly triumphant. A piece that deserves to be brought home, and yet another jewel in Walthamstow’s culturally rich crown.
Invisible Me is playing at Southwark Playhouse Borough until Saturday, 2nd May
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