The Wedding Speech is the debut play from writer Cheryl May Coward-Walker. This one-woman show follows Rosemary, played by Princess Donnough, who volunteered to speak at her mother’s wedding after her grandfather’s recent passing. Taking a moment to catch her breath and gain her composure for the dreaded moment, she slips into the bathroom to find us waiting for her. With us as her sounding board, she begins to revise, ridicule, and rewrite her speech, desperate to understand and be understood amongst this complicated and conflicted mother-daughter relationship, with the lingering question of whether another is destined to begin.

From the moment Rosemary makes her hilarious entrance and addresses the audience directly, like a friend she truly needs, filling us in on her current situation and how she got here, an ease and comfort seems to fall over the crowd. Where the prospect of audience inclusion may be expected to feel awkward or uncomfortable, this show finds the right balance in talking to us rather than at us. Donnough bounces off of the audience engagement with grace, easing us into an atmosphere completely opposite to the overwhelming interaction that could be expected. It feels as if we have chosen to be with her, supporting her, and we quickly see what the speech means to her as together we unravel the emotional journey Rosemary has been on with her mother and tidy it into a nice, neat bow to present to the wedding party and guests – at least that is the plan. 

The Hope Theatre have worked to emphasise the nature of the play. The audience sit in no more than fifty seats, lining three of the rooms’ four walls, looking inwards at Rose as our own energies pour into and fuel the performance. From feeling joy at hearing other people’s laughter blending with your own, to looking at her in a moment of true undisturbed sympathy, be prepared that this is a depiction of a night when Rosemary needs someone to understand her, and we are called upon to be that person.

Coward-Walker’s writing is poetry. With delightful, discrete metaphors and a pleasing rhythm and rhyme continuing consistently throughout, we navigate a concept which is interesting, original and so intricately well-thought-out with a character of pure humanity and humility at the centre.

Direction by Simone Waterson-Brown shows clear understanding of the importance of extremes when dealing with the subject of emotional abuse and traumatic relationships. It is an emotional rollercoaster that goes through multiple loops, and we are all along for the ride. The audience are guided with such flow through waves of emotion which build and crash only to gather themselves up again, even within extreme turbulence; all throughout which strength radiates from Rosemary in energised points of confrontation and silent breaths of sensitivity. Perhaps a juxtaposition to what is expected of a guest at a wedding, the play understands that emotion, no matter how unexpected, must be released. Rosemary’s bottled-up emotions become that wave reaching out, surrounding her, and filling every space and crevice of the room – which in this case happens to be a bathroom – until she must open the door and they all pile out, unstoppable.  

Donnough performs with incredibly effortless control over her emotions. Her eyes growing a glassy sheen, to then pull back, to then let a single tear stream down her face one moment and a beautifully confident smiling woman stand before us the next. All you can do is watch in awe. Her use of body language also shows no sense of holding back, leaving everything possible on the stage to produce a true portrayal worthy of true empathy and connection. The final weapon Donnough holds in her disposal is her impeccable timing which works to bring everything together into a smooth and impactful performance. 

Through skilful use of the space, we are truly transported to the events of the night. The set design by Paula Chitty is simple yet effective in that its realism brings recognisability, at first glance, and, gradually, becomes a source of ridiculousness and humour, as the irregular use of regular props starts to introduce the exaggerated nature of the play. External characters are introduced in brief instances through a combination of voice manipulation from Donnough and Wil Pritchard’s use of familiar sound design to fill empty space and engage the imagination of the audience. Lighting is used expertly in all its capacities as we see varied colours and emphasis helping to indicate everything from location to time of day, to distinct core emotions in the story of Rosemary and her mother. 

Taking an interesting stance on family, mental health and how the two connect, the production builds on the classic drawing-room-play as events occur outside of the safety of what we experience together. While the audience remains tethered to the bathroom setting, unable to go into ‘battle’ with her, we must stay just out of reach as she faces her vulnerabilities. 

As Rosemary speaks her truth, pockets of laughter and mumbles of agreement can be heard from the surrounding seats through moments that come from within, and moments performed for us. Laughter fills the small venue at ridiculousness of exaggerated emotion but also from a place of familiarity at watching someone in a relatable position, an outward expression of what many feel inside. Scattered hands lift their glasses from the bar just downstairs to several editions of her toast. An eruption of genuine applause, happiness and pride comes when her big moment of confrontation arrives.

The show somehow manages to be unpredictable but comfortable, driven by an established connection with the protagonist. We hope it grows bigger in the future and would absolutely recommend booking a ticket to the tour next year. 

A relatable, realistic, intimate performance.

**** Four stars

Reviewed by: Louisa Clarke

The Wedding Speech plays at the Hope Theatre in Islington until 3 December, with tickets available here.