By James Knudsen
Overflow is a contemporary play in every possible sense. The subject matter, the script, the stage and lighting design, and the performance in this one-woman show by Reece Williams all amount to a refreshing and enlightening experience. The slick direction from Debbie Hannan and the stage and lighting design by Max Johns and Jess Bernberg provide a dynamic theatrical experience that hits hard and provokes thought. I am sure these were the sole intentions of the creative team, and they are achieved here splendidly.
We are greeted by the main character, Rosie, a trans woman who has been forced to lock herself inside a nightclub toilet as a means of protection from aggressive transphobes who lie in wait on the other side of the door. Rosie takes us on a journey through her life, providing a review of some of the more memorable bathroom experiences she’s had, and the people with whom they have been shared. They are punctuated by memories of friendship, allyship, drama and abuse. Rosie embarks on a rollercoaster of emotions that originates from her interactions within what has become both a safe haven and hot political battleground for trans women – the ladies’ bathroom.
The audience is skilfully and seamlessly guided through a series of flashbacks. Here, the work of Hannan and her creative team really shows. Transitions between the past and present are extremely punchy, fluid and effective, with sharp lighting and stage design helping the stationary set feel alive and ever-changing. Colourful neon tones and the use of practical staging and scenery epitomise this. Lyons’ performance also aids this dynamic feeling, effortlessly snapping between characters as she multi-roles between past versions of herself and other characters essential to the narrative. These flashbacks make up the bulk of the storytelling, and are the most humorous, technical and enjoyable parts of the show.
Lyons’ performance is full of energy and charisma, displaying a range of emotions that mostly feel believable and raw. She is funny, genuine and entertaining. This is what can be achieved with good casting. Some of Lyons’ strongest moments were those of stillness, silence and reflection. I was left wanting more of those at times, since Lyons’ energy is mostly emphatic throughout.
All this to say that Overflow is educational and entertaining. It helps explain what Lyons means when she says that there is an “unwanted gaze” on the trans community, and it helps us better understand what we can do to help validate trans people as regular functioning citizens, and give the trans community the right kind of attention – the kind that it deserves.
