Edinburgh Fringe 2024
Neurochatter
Sara Jane Harvey
Genre: Comedic, Dark Comedy, Neurodiverse, New Writing, Solo Show
Venue: Spaces @ Surgeon’s Hall
Festival: Edinburgh Fringe
Low Down
Neurochatter deals in intense subject matter but does not feel heavy-handed. It’s a dense, demanding piece that doesn’t shy away from the complexities of mental health, but it also has many moments of levity and wit. The quick-fire repartee between Sara Jane Harvey’s chattering alter egos delighted and kept the audience engaged, even in a late-night slot.
Ultimately, this is a raw and powerful show that shows, not tells, an experience of dissociation and fragmentation of personality in a quest to manage and deal with extreme trauma. While it may benefit from a more defined conclusion, it remains a compelling and excellently executed piece of theatre that is well worth staying up late for.
Review
Neurochatter is a witty and tragi-comic exploration of the fractured self, written and performed by Sara Jane Harvey. The one-woman show tackles the complex and often misunderstood topic of dissociative identity disorder, presenting the symptoms not through explanation but as a visceral experience. Harvey embodies three distinct personalities: Mike, an academic obsessed with researching their state of mind; Elliott, a defensive, loud mouthed laid-back artist; and Host, the vulnerable core self who struggles to emerge from behind these alter egos.
Set on a tiny stage split between an artist’s studio and an academic’s study, the design mirrors the divided mind of the protagonist. Within this divided world Harvey’s navigates the intricate dynamics between the divided personalities within as they squabble and jostle for dominance within the mind of Host, the central figure struggling to cope with past trauma.
What makes Neurochatter so compelling is Harvey’s ability to shift seamlessly between these distinct personas, sometimes mid-sentence. Each alter ego is sharply delineated, with unique accents, mannerisms, and physical stances. While both alter egos feel a little forced or stereotypical, the performance remains captivating, largely due to Harvey’s energy and commitment. The interplay between Elliott’s emotional detachment and Mike’s clinical rationality provides both tension and humour, grounding the audience in the turmoil of Host’s internal conflict. This is a play that shows, not tells.
Throughout the performance, interludes of music and dance serve as powerful metaphors for the protagonist’s attempts to pull her fractured self together. The soundtrack, ranging from Frank Sinatra to Frankie Valli, adds emotional depth, while Harvey’s dance movements convey the struggle for unity in a body and mind divided by trauma.
The play’s structure is non-linear, focusing on the relationships between the personalities (including a further late arrival ‘Shadow’) rather than a clear narrative. This choice effectively reflects the chaotic and fragmented nature of the protagonist’s psyche, though it does leave the story feeling somewhat unresolved by the end. The final dance sequence hints at the beginning of healing and integration, but a more explicit resolution in the dialogue might have provided a sense of the alter egos and Host beginning to find their way towards an alignment.
Despite the intense subject matter, Neurochatter does not feel heavy-handed. It’s a dense, demanding piece that doesn’t shy away from the complexities of mental health, but it also has many moments of levity and wit. The quick-fire repartee between the chattering alter egos delighted and kept the audience engaged, even in the late-night slot.
Ultimately, this is a raw and powerful show that shows, not tells, an experience of dissociation and fragmentation of personality in a quest to manage and deal with extreme trauma. While it may benefit from a more defined conclusion, it remains a compelling and excellently executed piece of theatre that is well worth staying up late for.
