Have you ever tried to figure out what normal looks like when your entire reality is built around one person? That is the exact brand of emotional claustrophobia we explore in Isabelle Palmer’s quietly devastating play, Little Deaths. Presented by Hazel Wing Theatre as part of the Greater Manchester Fringe, this production is an unflinching interrogation of memory, first love, and how easily someone can lock a partner inside a cage of their own design.
Filipa Pereira leads the production with a raw, engrossing performance as SHE, a beautifully complex young woman who will absolutely break your heart. Her entire existence is tethered to her boyfriend, JACK, played by Shlok Shetty. SHE treats him not just as a partner but as her absolute higher power.
The play’s structural juxtaposition is brilliant. Act One presents their storyline through an idealised, romantic lens. It plays out like a modern take on a 1950s relationship where the male partner is highly controlling. Jack seems firmly, and attractively, steering the ship, and Pereira captures that electric rush of submissive first love beautifully.
But then Act Two hits, and we revisit that exact same storyline with the varnish stripped away. The romantic illusion is shattered. Suddenly, the passionate ‘hickeys’ on her neck from the first half are revealed as the dark bruises of a stranglehold. The most devastating part is that SHE still desperately defends them as love marks. It paints a terrifying picture of a deeply controlled relationship, leaving us to watch her grapple with a heartbreaking, Stockholm syndrome-style devotion to her abuser.
Shetty’s performance in this second half is absolutely terrifying. The charming boyfriend from Act One drops his mask entirely, revealing a deeply dark, almost psychopathic energy. Through this shift, Palmer’s writing exhibits a brilliant, mature restraint. Instead of spelling things out, she leaves a trail of quiet, chilling hints that heavily imply SHE has been raped and quite possibly spiked by Jack. By refusing to show these moments explicitly, the production forces us to experience the exact same self-doubt that SHE is suffering.
The actors’ interpretations are a massive achievement, especially given the brilliantly light, minimalist on-stage scenery. With almost nothing to hide behind, Pereira and Shetty carry the entire psychological weight of the story flawlessly.
Thankfully, SHE does not have to navigate this nightmare alone. Carrie, played by Beya Millan, operates as the fierce voice of objective truth. Rachel, played by Amelia Reay, serves as an emotional safety net to ground SHE when her fragmented memories threaten to pull her under.
If I have one piece of constructive criticism, it centres around the interval. I was left totally guessing if we were actually having a break, and judging by the audience members behind me whispering and frantically checking their listings, I was not alone! I would also love to see some of Palmer’s chilling narrative hints expanded on just a fraction more to really maximise the psychological tension.
Walking away from this production, I could not help but think about how deeply this storyline resonates with the world today. We like to think society has moved on from that 1950s dynamic of a husband totally controlling his wife. However, when you look at the news coming out of America regarding the ‘Trad Wives’ movement, or hear stories from conservative countries determined to suppress anyone who does not fit their perfect subservient ideal, Jack’s psychopathic need for total control feels chillingly relevant.
Sitting in the intimate performance space of the Kings Arms in Salford makes this raw focus on control hit ten times harder. The proximity to the actors means you can see every micro-expression and every tear. Chatting with Director, Producer, and Founder Dionne Hunter after the show, you can clearly see the passion that took this piece from a local scratch night to a fully realised touring production. Honestly, if you haven’t been to the Kings Arms yet, what are you doing with your life?
Insider tip: flash your Canal Street VIP membership card for 15% off at the bar! Grab your discounted pint downstairs, soak in the historic fringe vibes, and support the incredible wave of new writing currently coming out of the North.
While this particular fringe run is short, Hazel Wing Theatre is taking this fantastic, deeply necessary show on a UK tour. Keep your eyes peeled for more from writer Isabelle Palmer, and go follow them on Instagram at @hazelwingtheatre to catch where this brilliant production lands next!
By James For Canal Street Media