Review: THE SECONDARY VICTIM, Park Theatre

Recent figures show that more and more people are visiting their GP with anxiety, stress and other mental health concerns.

With so many facilities running at full capacity, options become limited for those in need. And, despite the rising number of people accessing mental health services, there are still large proportions that are not. It is thought that only 65% of people living with psychotic disorders receive treatment.

'Therapy' is a word that has a certain stigma attached to it. It's an intimate exchange in an environment where the connection between the client and therapist is vital. However, there is a fine line between professional and personal, and combining the two is dangerous.

The play opens with Ali (Susannah Doyle), currently mid-session with Teddy (Christopher Laishley). The reasons behind Teddy's referral is unclear, but what we do know is that he must attend counselling for six months, before writing a report on what he has learned.

Learning is the recurring theme, and is something that Ali encourages her clients to consider a lot during sessions. In these interactions, Doyle speaks with a soothing tone, keeps her posture firm, and gives off an aura of calmness - a stark contrast to Laishley's Teddy, who sits agitatedly and remains frantic in delivery. Ali reassures, seeming to have control of the situation.

However, that control is flipped upside down when a parcel arrives from the British Board of Therapy (BBT), containing a complaint made against her of sexual misconduct. A former client, Hugo (Michael Hanratty), has claimed that Ali touched him provocatively during one of her sessions - an allegation she categorically denies.

It's not in her session notes, so there's no way it could have happened, right? Regardless of this fact, she must now endure a gruelling wait until the hearing she is summoned to in a few months' time.

The first 20 minutes provide a lot of exposition, yet are slow in pace. Matthew Gould's production doesn't feel as exciting as it should do, but it ploughs on, and what follows thereafter is a series of short vignettes that reveal how each character got to this point. Some of these scenes, written by Matthew Campling, are as trite as the opening; however there are others that particularly engage.

Hugo has a new therapist in Jonny (Matt Holt), and through these sessions he elaborates further on his complaint. It is evident that Hugo is emotionally unhinged, however Hanratty also competently plays the character with confidence, charm and a sharp wit. Their interaction is exciting. Holt adopts the archetypal therapist's relaxed composure, which when juxtaposed with Hanratty's erraticism, provides a dynamic combination.

As the hearing looms over everyone's head, a split screen provides the two-sided story. Hugo continues to talk to his therapist, whilst Ali discusses her stresses with her supervisor Marilyn, played by Natasha Bain. Marilyn is self-assured and offers practical solutions to Ali's situation. Through the two intertwining scenes Hugo's credibility is subtly belittled.

In a sharp contrast to the opening scene, we now see Ali drained; looking exhausted, her hair is a mess and there are bags under her eyes. She struggles to speak with clarity, and has become the secondary victim - a term used to describe someone who has received nervous shock (psychological injury), brought on by a traumatic experience.

Teddy has since been suspended from his job, after inviting two 14-year-olds back to his flat for drinks, and his life is spiralling out of control. But his main concern is that Ali still thinks he's a nice person. She does - after all, a therapist should never criticise, and instead should listen and help. It's a particularly exciting scene; Doyle and Laishley's interactions provide a lot of enjoyment.

As you sit through each scene you find yourself desperately waiting for the hearing, and when it arrives, it does not disappoint. It feels incredibly tense, with parallels to a strong TV courtroom drama. All six actors are on stage together for the first time, and it's the play's finest moment: one major showdown. But after that, the play returns to its previous mundanity.

There are interesting points raised about the benefits - and potential harm - of therapy. In this case, the latter might outweigh the former. But the complicated narrative means the play never moves past surface level. It's frustrating, because there is a lot of potential, and these questions are important - but, ultimately, they're left unresolved.

The Secondary Victim at Park Theatre until 9 December

Photo Credit: Matthew House

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