Perception is key in this gripping play about an older lady, Myrtle (Diveen Henry), who insists on being called ‘Miss Myrtle’ by those who she does not consider close friends or family, despite being married to Melrose (Mensah Badiako). She has dementia, which inevitably means that who she considers a friend or foe is as changeable as the weather. But what might have been – and admittedly sometimes is – a deeply emotional piece of theatre is grounded in realism, with the supporting characters all having their own challenges. Life goes on, and Myrtle is not one for sentimentality, almost barking at her grandson Rudy (Michael Ahomka-Lindsay): “I’m not going to spend my last days raking over old graves just so you can chat my business when I’m gone.”
From the outside looking in, Myrtle’s ability, even in a state of cognitive decline, to assert her authority over her domain was a delight to witness. Having expressed dissatisfaction at shows that time-hop back and forth between generations, I am grateful (to say the least) that there wasn’t any of that in this play. Every scene was always in the here and now, however confused Myrtle may or may not have been – her thought processes were happening in the moment. The audience doesn’t get to see quite how sharp-minded and acid-tongued she would have been in her prime. But the clarity of a story told in forward chronological order more than makes up for that.
“Your best and my best are not the same,” she snaps at Melrose in response to his efforts to cultivate her garden. Eddie (Gary Lilburn), an older man from Cork, was helped decades ago by Myrtle and Melrose, and attempts to return the favour. Eddie’s own efforts at gardening are eventually appreciated by Rudy, who learns from him and takes over. Rudy’s boyfriend Jason (Elander Moore), a fashion stylist, is invariably described to others by Rudy as merely a friend or, otherwise, a housemate. I don’t think I’ve come across the term ‘internalised homophobia’ before – it is used in the content guidance for the show. Negative portrayals of LGBT+ people lead some within the LGBT+ community to ‘internalise’ such portrayals, such that they don’t want their sexual orientation known to certain people or indeed anyone outside a very close circle of friends. Here, Rudy believes his grandmother to be so much of a traditionalist that she will automatically reject him if he were to come out to her. Let’s just say they were still on speaking terms by the end of the play.
Walls of noise and music suddenly fill the auditorium during scene changes, probably meant to be indicative of the discordance in Myrtle’s ever-increasingly confused condition. But it happened so often that whatever dramatic impact it may initially have had was dissipated after a while. The production does very well to blur the lines between reality and what Myrtle thinks is going on, in such a way that it is not always immediately clear what the ‘correct’ version of events is.
The play could have done without an interval – as it is, it’s in a venue where the bar is still open post-show – but this is a relatively minor gripe. More perturbing is a lack of interest in any females other than Myrtle in the family. Rudy asks about his father, but not about his mother – the only other woman the audience finds anything about is Mary, Eddie’s deceased wife, and of course, Myrtle has no idea who Mary is. Still, the near-complete absence of saccharine emotion in such a credible and engaging play filled with dramatic tension makes for a thoughtful and more than satisfying evening.
Review by Chris Omaweng
The sharp-tongued Miss Myrtle is trying to manage her unkempt garden in a rapidly changing neighbourhood. Her grandson Rudy and his ‘close friend’ Jason need a place to stay, and local drunk Eddie keeps relieving himself against her garden wall.
When Rudy starts delving into the past – all she wants is some peace and quiet. But as her brain begins to play up, far more complicated questions about grief, love and understanding demand her attention, and she’s running out of time.
CAST
Rudy – Michael Ahomka-Lindsay
Melrose – Mensah Bediako
Miss Myrtle – Diveen Henry
Eddie – Gary Lilburn
Jason – Elander Moore
CREATIVE TEAM
Writer – Danny James King
Director – Taio Lawson
Set and Costume Designer – Khadija Raza
Lighting Designer – Joshua Gadsby
Sound Designer and Composer – Dan Balfour
Movement and Intimacy Director – Yarit Dor
Production Dramaturg – Olivia Poglio-Nwabali
Production Dramatherapist – Wabriya King
Costume Supervisor – Ellen Rey de Castro
Casting Director – Jatinder Chera
Dementia Consultant – Dr Nathasia M. Muwanigwa
Botanical Consultant – Coral Wylie
MISS MYRTLE’S GARDEN
Bush Theatre
31 May to 12 July 2025
