If what you did was totally insensitive and crass, she may never be able look at you in the same light and it may be too much to expect that trust can be regained easily, if ever. She may, in fact, never be able to see you as the same person. However, if what you did to her is more trivial and does not seem so much to her, you might approach her sensitively to good effect. Andy, Susan's imaginary husband, handsome, devoted, master cook, and everything missing from Gerald; It’s important to emphasise that Susan must always appear quite ordinary. It's a difficult quality sometimes for an actress to catch. Most people who want to act are quite extraordinary!. We should never get the feeling - what's this remarkable woman doing putting up with all this? The grim reality is very different: husband Gerald (clergyman's son Paul Toy) is a self-obsessed priggish vicar, always in another room writing his interminably dull, interminably long parish history since 1387. They have reached the separate bed stage already.

And when she comes round, hemmed in by the silver birches of Ti Green's set, looming like a sinister extension of her troubled mental state, something significant has changed. She has acquired a pristine English accent. The central character in Woman in Mind is, of course, Susan. 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. Gerald, Susan's real husband, a vicar whose interest in his wife has long since faded in favour of his book and undivided attention to his sister; If the breach is great, seek a way of apology specifically for her and your specific shared circumstance.

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Tony, Susan's imaginary young brother, again devoted, mischievous, and presumably compensation for Gerald's devotion to Muriel; and As Susan, Sally Hartley gives one of the most astonishing performances in local theatre it has ever been my pleasure to witness. Measured, believable, truthful, both vulnerable and strong and utterly convincing.

Coming across like a companion piece to Anthony Neilson's The Wonderful World of Dissocia, Woman in Mind is a funny and unsettling vision of mental ill health, its cosy rituals of family life acting as a thin veneer to cover Susan's awful inner torment. Susan Woman in Mind is a play about a woman slowly losing her grip on reality. She has reached a sexual, social and intellectual crossroads. She is a vicar's wife who has fancifully invented another family straight out of a 1950s magazine: a husband with a white suit, a slightly mischievous brother and a lovely daughter who adores her. Her family are, in fact, an extremely gloomy set of people, but I wrote the play from this woman's point of view, inviting the audience to empathise with her. In the end the woman has a breakdown and just closes down altogether, which is very upsetting. Because of the nature of this particular play, it is likely that some members of the audience will stop laughing before the others do. Generally, the women stopped earlier on! Susan, a middle aged housewife, lives a drab, disappointed existence. Ignored by her husband, disowned by her son, she survives by conjuring up an imaginary family with whom she can live out her dreams. But when the strain gets too much, fantasy and reality start to collide in an increasingly absurd and comic sequence of events. Muriel, live-in sister to Gerald, dead weight about the house, self-centred, and an unimaginably bad cook;The chances of being forgiven by a woman lessens if you wronged her or humiliated her deeply. She may shut you out. Most of my plays at some level are autobiographical. I think Woman in Mind , in the end, is no more and no less than many others.