In her acclaimed work, On Death and Dying, Elisabeth Kübler-Ross details what she calls “The Five Stages of Grief”: Denial, Anger, Bargaining, Depression and Acceptance.
This concept provides the platform and narrative structure for Segments’ powerful play WILT, which explores, in a no-holds-barred way, the emotional fallout between a couple, Nadia and Elliott, following Nadia’s father’s death.
We witness the pair’s struggle to cope with their loss. and their attempts to navigate their relationship as it is shaken and buffeted by the aftermath not only of the bereavement itself, but also by the release of long-held tensions and the surfacing of long-buried truths which it precipitates. This results in their need to examine fundamentally the strength and solidity of their bond as Nadia endures the pain of her grief.
The first few scenes establish the underlying strength of their relationship. After the funeral, despite the obvious sadness of the situation, Nadia and Elliott find comfort in simply being together and supporting each other. They spar both physically and verbally, lightly squabble over a pasta meal and playfully wrestle.
However, even at this early stage, there are carefully planted clues that point to future difficulties. In the middle of a conversation, Nadia suddenly reveals, “Ever since dad died, my mind has felt cloudy.” These intimations of Nadia’s future psychological difficulties suddenly become more pointed and all-embracing. With each scene, Nadia’s grief deepens, and we see cracks begin to form between the pair as Elliott struggles to find the right responses to Nadia’s agonies whilst simultaneously trying to cope not only with the loss of her father (to whom he was obviously extremely close), but also the very real existential threat to his future relationship with Nadia.
The ultimate success of this two-hander obviously rests upon the shoulders of the actors. We have to believe in them, and in the intrinsic nature of their emotional connection. We must be convinced of the essential durability of their relationship, as it comes under the most intensive pressure, and we need to believe in their ability to fight for their love and ensure that it conquers all.
Quite a weight of expectation there, but both actors come through these challenges with flying colours.
India Erlam gives a superbly nuanced performance as Nadia. Her journey through the stages and vicissitudes of grief are portrayed with utterly convincing authenticity, with a supreme confidence and genuineness. Erlam uses stillness and silence incredibly powerfully, painfully delineating her deep melancholy and helplessness at one stage by just sitting on the sofa staring ahead. In this case, less is very much more. An assured and memorable portrayal.
Similarly, Joe Northstone gives a strong, credible portrayal of Elliot. Veering from humour to exasperation, from anguish to anger, but at all times underpinned by his deep love for Nadia and the recognition that he must remain strong amidst all the hurt and anguish, Northstone gives us a completely satisfying and persuasive characterisation. Again, he is not afraid of quietude; the scene where he gently washes Nadia’s face and tidies her hair without speaking is a powerful and tender moment.
The restrained lighting and appropriate sound plot, together with a simple set of an oversized sofa, give the audience the impression that they are a fly on the wall witnessing grief and escalating domestic tension in all its visceral rawness.
There is no automatic, easy, “happy ever after” end to this story, which is, in itself, satisfying. The overwhelming impression that permeates this piece is that grief, and the sense of loss that accompanies it, is a lifelong process with no quick fixes or one-size-fits-all solutions, but is something to which we must eventually find an accommodation in whatever way we can.
Loss, sorrow and pain are all elements of the human condition and are experiences that all of us will have to undergo.
WILT does not shy away from these issues, and the emotional dislocation that they cause but presents them in an impressive, no-holds-barred way that manages to be both coherent and slick.
This thoughtful production looks in a raw, unvarnished, but always truthfully honest way at how bereavement distorts, fractures, and reshapes relationships. It is highly recommended.
Review by Johnny Oxford
Nadia and Elliott are returning home after the funeral of Nadia’s father. The pair struggle to cope with the loss as their relationship tumbles through the five stages of grief. Long-held tensions and buried truths begin to surface as Nadia fears she may be losing her father a second time.
CAST
India Erlam – Nadia Blaese
Joe Northstone – Elliott Wells
CREATIVE TEAM
Jazz Summer – Director and Writer
Scout Worsley – Assistant Director
Beck Watts – Assistant Director
Elizabeth Tattersall – Stage Manager
Zena Ahmed – Composer and Singer
Billy Van Sanden – Musicians
Tom Smith – Sound Designer
WILT
Bread & Roses Theatre, 13 and 14 October 2025
Presented as part of The Lambeth Fringe
