Review
Addiction
Culture
Theatre
5 min read

The ancient drama of rehab

People Places & Things is a modern play with old stories.

Simon Walsh is a communications consultant, journalist and non-stipendiary priest in the Diocese of London.

on a stage a woman kneels on a bed amid frantic action around her.
Denise Gough as Emma.

‘There is no higher power,’ says a character defiantly in People Places & Things, the revival of Duncan Macmillan’s 2015 play about addicts and addiction. It’s an echo from Greek tragedy when anyone denies the gods, and now has a modern ring in all the self-help, self-belief talk of recovery and resolve.  

Denise Gough reprises her lead performance as Emma for which, last time around, she swept the board in awards and nominations. It’s easy to see why. She’s on stage almost the entire time, compelling and fluent throughout. The opening scene has her in the white-box modern set wearing a Victorian costume, for her character is an actress in Chekhov’s The Seagull – almost meta, and the first hint and how this a show where realities and identities blur with layers upon layers. 

Soon after, Emma (if that is her real name) checks into a rehab unit. She doesn’t feel she has a problem but is there for a break. ‘Drugs and alcohol have never let me down,’ she says at one point. A brisk female doctor in a white coat admits her, played by Sinéad Cusack. A couple of scenes later, Cusack reappears as the clinic’s group therapist. This time she’s full of empathy – barefoot and with a scarf over one shoulder – all herbal tea and sympathy. 

But the therapist’s work with her charges is vital. Some even get to ‘graduate’ and host a non-alcoholic party the night before they leave, having successfully stayed the course. Probably not Emma though. She’s too feisty, individually unable to admit her problems, and inevitably she crashes. There’s a naturalistic feel to the production and narrative, even when it jolts into dream-like sequences or bright lights with thumping techno music.  

Anyone with experience of an addict or addiction will find it all too familiar. The later scene where Emma returns to the parental home is a crucible of pain, and embodies the play’s title. It concerns ‘the people who can make us relapse, the places which trigger associations, and the things which are the props of the old habits’. And it’s made more complex by the family in grief over the recent, sudden death of Emma’s beloved brother in a freak accident. ‘It should have been you instead’ is the parental curse on this remaining child. 

There’s a slow and silent feel to the way it develops. The word inexorable comes to mind, something that cannot be changed or stopped. Like Greek tragedy, the tension is in how this will resolve, and if it will turn out as badly as feared. It does and it doesn’t, which is at least true to the addiction journey. 

Jeremy Herrin expertly directs an intensely fine cast: Russell Anthony, Holly Atkins, Ryan Hutton, Malachi Kirby, Danny Kirrane, Paksie Vernon, Kevin McMonagle, Ayò Owóyemi-Peters, Lousie Templeton, Dillon Scott-Lewis. These are nuanced, crafted performances which inhabit Bunny Christie’s versatile, stylish set with presence. 

 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity... 

Faith plays at the edges of this work. There are passing references to religion: a ‘bibling grief’, communion wine, the power of prayer. More tears, said St Teresa of Avila, are shed over answered prayers than unanswered ones, and this outward expression of a cry for help connotes the spiritual struggle of addicts along with their pity. As the first disciples themselves asked, ‘Teach us, Lord, how to pray.’ 

Addiction was not something Jesus had much to say about. Healings take place throughout each of the four gospels. The sufferers present with various ailments and of differing origins. For some it is hereditary, others through sin (such as when Matthew records Jesus healing a paralyzed man with the words ‘your sins are forgiven’). At other times there is a clear need for recognition such as when Jesus visits his hometown. He ‘laid hands on a few sick people and cured them’ but otherwise ‘could do no deed of power there… and was amazed at their unbelief’. 

These healings, however, do not obviously deal with addiction. The closest connection is probably the examples which deal with demons. The encounter with a man possessed in the land of the Gerasenes, a little earlier, is instructive. Here is someone who ‘lived among the tombs; and no one could restrain him anymore, even with a chain; for he had often been restrained but the chains he wrenched apart; and no one had the strength to subdue him’. But Jesus confronts the demon, the ’unclean spirit’, and sends it into a herd of swine ‘numbering about two thousand, which then rushes to the sea and is drowned. 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity. The healed demoniac is found with Jesus, ‘sitting there, clothed and in his right mind’, though the swineherds do not believe it and remain scared. They beg Jesus to leave and the ex-demoniac wants to go with him, but Jesus tells him to stay: ‘Go home to your friends, and tell them how much the Lord has done for you, and what mercy he has shown you.’ He is to give his testimony. 

Drama at its heart has to be about telling a story and finding a universal truth.

It’s a running debate that lived experience and life identity are now more important than acting ability when it comes to race, sexuality, gender and so on. Denise Gough has given testimony ahead of this run – how as a teenager she fled her native Wexford for London where she fell into homelessness, drug and alcohol abuse, and was the victim of grooming. She has told her story, with purpose, much as those people who experienced healing and deliverance gave their own account to the Early Church. 

Drama at its heart has to be about telling a story and finding a universal truth. The gospels are full of this, with redemption and rehabilitation. Lives changed, sins forgiven, and a new future made possible. There is power in believing, and knowing that when someone might stumble and fall, it is not the end. In fact, it might just be the beginning. 

  

People, Places & Things is on at the Trafalgar Theatre, Whitehall, London, SW1A 2DY, until 10 August 2024.

Article
Comment
Leading
Psychology
Theatre
6 min read

Are you a narcissist?

We all have a little bit of narcissism in us – the question is whether we’re a Moses or an Iago
An Elizabethan man holds a dagger up while grinning.
Kenneth Brannagh's Iago in the 1995 film of Othello.
Sony Pictures.

Is everyone a narcissist these days? It sometimes feels so. Google Trends data shows an eleven-fold increase in searches for “narcissism” between 2010 and 2023, and the term has become a social media buzzword. Online quizzes asking, “Am I a narcissist?” are everywhere, offering dubious self-diagnosis at the click of a button. Genuine Narcissistic Personality Disorder, however, is complex and painful – especially for those in close relationships with someone who cannot acknowledge the harm that they are able to cause or feel any sense of remorse. Narcissus, in Greek mythology, was a handsome young man who was cursed to fall in love with his own reflection, but it was not until the early 20th century that the term “narcissism” was then picked up by the emerging field of psychoanalysis. Initially, Sigmund Freud adopted it in a non-pejorative way to describe the stage in child development when an infant is aware only of their own need for love and attention. Eventually, as that infant grows into a child it begins to experiment with showing others love and attention, and if surrounded by the right relationships, the child learns that love can be reciprocal – a back-and-forth pattern of give and take. Freud wrote:  

“Loving, then, contributes to the lowering of self‑regard. Having one’s love returned, however, restores one’s self‑regard and replenishes one’s narcissism.”  

In its healthiest form, narcissism reflects a positive sense of self – a recognition of one’s own needs and a reasonable desire for them to be met, whilst also knowing that we must give of ourselves, again within reason, to meet the needs of others. In this sense, yes, we are all a little bit of a narcissist. It is only occasionally, most commonly when the early bond between a child and their caregivers is inconsistent or unstable, that this self-focus can become problematically distorted, sometimes leading to a personality disorder. For such a person, a constant hunger for attention and affirmation, often combined with a lack of empathy or a tendency to use empathy as a means to manipulate others, leads to a life of take-take-take; one which can cause significant harm to others and ultimately to themselves.  

Estimates for Narcissistic Personality Disorder are that it affects about one to two per cent of the population, a number which is intriguingly high. The unfortunate news is that true Narcissistic Personality Disorder is notoriously difficult to treat, precisely because key tenets of the condition include a lack of self-awareness and an overinflated sense of self belief. The classic response of the one with Narcissistic Personality Disorder is, of course, “How dare my therapist say that I am a narcissist? They must be the problem!” 

However, much more prevalent are what might be called “sub-clinical narcissists” – people who act selfishly, arrogantly, or manipulatively, influencing others to conform to their desires. We all know one or more of those – sometimes we meet one when we look in the mirror. Whilst this may make us feel pretty rotten, whether we are the giver or the receiver of such treatment, it does not always warrant a clinical intervention. Even so, it can still be extremely difficult to process how and why human narcissistic tendencies are able to cause others so much pain. If, as Freud proposes, a certain degree of narcissism is hardwired into human nature, what can we do about its tendency to evil?  

In Shakespeare’s tragedy Othello, the character of Iago is a master manipulator who displays all the cold-hearted indifference of a true narcissist. Early in Act 1 he expresses his indignation that he has been passed over for promotion. Firmly convinced of his own superiority, he slyly boasts that he will play a false self to Othello, feigning loyalty for his own ends and stating: “I am not what I am.”  

These words are a clever and rather chilling inversion of a famous phrase from the Bible. In the story of the Exodus, God meets with Moses in the form of a burning bush, and when Moses asks for the name of God a voice replies: “I am what I am.” As Moses stands before God, barefoot and awestruck, he hears that enigmatic statement and is forced to confront the question of who he truly is – an ashamed murderer, a fugitive, a short-tempered man of slow speech but hasty acts. Moses acknowledges all these awkward truths about himself and declares himself wholly unfit to be called by God as a leader. Yet God uses Moses anyway, and at the end of his life, Moses dies a celebrated hero – a deliverer who is mourned by all his people.  

Not so Iago. As the tale of Othello draws to its tragic close, Iago is wounded, arrested and escorted from the stage. The audience knows that he has been condemned to execution, but unlike pretty much every other character in that fateful final scene, Iago’s death does not take place onstage. He is simply removed, dismissed from everybody’s notice – a narcissist’s worst nightmare.  

One can see the crucial difference between Moses and Iago – whilst Moses is concerned that his own flawed nature makes him unfit to be become a great leader, Iago is driven to grasp at leadership by a belief in his own grandiosity and acts vengefully when passed over. Right to the end, Iago expresses not one word of self-doubt or regret for his actions. Indeed, he refuses to account for himself at all. “Demand me nothing,” he says at the close; “What you know, you know.” 

Seemingly, the problem of narcissism’s tendency towards evil lies not in actions, but in methods of self-evaluation. While we all make regrettable mistakes, and sometimes it can be hard to judge the difference between unreasonable selfishness and reasonable self-preservation, the true narcissist is afraid to explain themselves, unwilling to bear the judgement of outside scrutiny. The narcissist will look only in the mirror.  

But whereas a mirror only reflects light, a burning bush produces it. In the end, the resources of the Christian tradition do not simply diagnose our narcissism, they offer us a way through it. They offer an outside perspective from which we can truly evaluate our own actions – a light that shines through the mirror.  

If you have ever clicked the link for the online quiz, or been tempted to, then that is an encouraging sign of willingness to be open to outside scrutiny. But of all things, would we really want to trust only human voices, especially the unknown and unknowable voices of the internet, as an authoritative arbiter? If narcissism is so inherent to human nature, it logically takes something higher and brighter than our fellow human beings to really bring it into the light. But in any case, you can save yourself the time of completing that dubious online diagnostic quiz since the whole enterprise can be summed up in just one question:  

Have you ever wondered if you have Narcissistic Personality Disorder? If the answer is yes, you probably do not. So demand yourself nothing, what you know you know.  

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