Powerful show from On The Run theatre aims to change preconceptions about domestic abuse

Award-winning On The Run theatre company are touring their hugely successful Edinburgh Fringe show Everything I Didn’t Say, with upcoming dates at The Alma Tavern, The Wardrobe Theatre and The Theatre Shop, Clevedon in April and May.

The show is a blend of storytelling, movement and audience participation, and follows protagonist Meadow Rain in her struggle to leave a relationship of coercive control.

Written and performed by artistic director Hannah Moss, the narrative seeks to change perceptions of victimhood, and to entertain, while educating audiences into the impact of domestic and emotional abuse on individuals and the people in their orbit.

Moss told Bristol24/7 about the impetus and evolution of the show, finding the lightness within dark subject matter, collaboration, and the opportunities afforded by moving to Bristol.

Hannah Moss in The Rebirth Of Meadow Rain (the original version of Everything I Didn’t Say) – photo: Alex Brenner

What are the origins of Everything I Didn’t Say?

“Abuse had always been something I assumed was violent, or that left a mark. Something that had an obvious sign. But coercion and emotional abuse wasn’t something I had considered before, and with so many women bravely expressing their experiences during the 2018 #MeToo campaign, it shone a new light on non-violent abuse.

“During research into the topic, I came across the term ‘coercive control’ and that was when the show’s theme clicked into place. I realised those conversations I’d had with friends, in which they’d described a bad relationship with a “wonderful partner” but who was just “a bit controlling sometimes”, felt different now.

“I felt a shift in my perspective and started to question relationships and experiences more carefully. I wanted to make a show that highlighted this shift in perspective and which shone a light on a specific type of abuse that can often go unnoticed.”

Hannah Moss as Meadow Rain – photo: Alex Brenner

How has the show evolved since its first outing at the Edinburgh Fringe, both from a performance, and an audience perspective?

“The show hasn’t moved too far away from its original concept and design, however we’ve had the time before this tour to apply more of our research and use much more detail around coercive control. We did in-depth research with guidance from campaign UK Says No More, and listened to many testimonies of people who’d left abusive relationships.

“Listening to victims’ stories helped us rethink the storyline a little, particularly the ending, and we feel the show is much stronger and effective at representing what a coercive relationship can look like.”

Given the thematic content of the show, what is the impact of utilising audience interaction, and comedy?

“As a practitioner, I always try to find moments of lightness and laughter when dealing with a dark subject matter. I think the audience need a bit of a giggle to help them better process the serious theme of coercive control. Although it’s important to clarify here that abuse isn’t funny, the show is! We don’t laugh at abuse, but laugh with Meadow as she tries to (badly) apologise and gets it really wrong.

“Audience participation plays an important role in bringing the audience closer to the main character and closer to the subject matter. Asking the audience to give advice or join in, requires them to invest in the main character and her story. Then, when Meadow is in trouble, the audience are really rooting for her to succeed.”

Hannah Moss as Meadow Rain – photo: Alex Brenner

Can you describe the way in which you work with Anna Marshall, Emma Tompkins and your other creative collaborators?

“Working with Anna is such a delight as she has such an amazing brain for theatre. Her ability to get new scenes on their feet, and successfully so, never stops amazing me. Often I will share some writing with Anna or some ideas and we will then research any relevant themes that arise. We discuss the storyline, the theme, the concept and develop ideas as we go with me putting pen to paper. After that, we get the scene up on its feet and stage it.

“My work often has a strong sense of design and I always love sharing my ideas with long-term collaborator and friend Emma Tompkins. Sometimes we laugh and say we finish each other’s sentences! Emma is adept at working with collaborators on devising shows and developing whatever visual metaphor I’ve come up with that week.”

You recently made the move from London to Bristol. What does the city mean to you, creatively? What are the opportunities afforded by basing yourself outside the capital?

“Bristol is such an exciting and culturally vibrant city. The artist network here is fantastic and I have greatly benefited from moving out of the capital. I have met some new talented collaborators and supportive venues.

“To me the city is freedom – I could have never pursued my theatre work in the same way as in London, mostly because of how calm and nourished I feel when I’m here. Everyone is so interesting, open and friendly, it’s just the right place to nurture creative ideas.”

Everything I Didn’t Say is at The Alma Tavern & Theatre on April 15-16 at 8pm; The Wardrobe Theatre on April 27-28 at 7.30pm; and The Theatre Shop, Clevedon on May 5 at 7.30pm.

Main photo: Alex Brenner

Read more: Watch out Wardrobe Theatre: The Grimm Sisters are coming

Listen to the latest Bristol24/7 Behind the Headlines podcast: