“I’m going to rant for a bit,” says Kate, a 26-year-old botanist, during her therapy session at the start of Auto-Engrain. And it is true, this monologue written and charismatically performed by Helena Collins O’Connor is more of a splurge of thought than a linear story. A year and eight months have passed since the end of her last relationship, and Kate is trying to move on with her life and get back out there. But, as she starts to realise the extent of abuse she was subjected to by her ex-partner, the horrors of her past forcefully tumble into the present day.
Beginning with their first meeting, Kate initially speaks fondly of an “engrossing” romance. She challenges him to eat a whole plate of ribs, before he entices her with his “toxic” green eyes. All too quickly, the poisonous signs come creeping in; he checks her phone while she’s asleep, he gets jealous when other men approach her. Bit by bit, Kate’s spark is lost to a relationship that pushes her away from her family and friends. This is a nightmarish, slow burn of a play that touches on the pull you feel to stay with someone even when you know you should not.
This is a topic that needs to be shouted about but the script sometimes leaves us cold. A robotic voice, Kate’s therapist, interrupts – which provides some attempt at humour but feels inelegant. Talk of female masturbation flies into the dialogue and out again, Kate’s relationship with her father is mentioned but then stays forgotten and cliches of therapy sessions start to appear.
What emerges is a show that is nearly there. Directed by Tabitha Wells and produced by We Are Bosstress, Kate’s testimony is steered by the inclusion of reported statistics on domestic abuse, written in black and white on paper. Stark and disgusting, they make a huge impact. We may be the audience to one story here but the continuing problem of domestic violence is what we take away.
At King’s Head theatre, London, until 19 November.
