Anne-Marie Duff delivers a commanding, nuanced performance in Some Woman, the new drama by Helen Edmundson currently playing at the National Theatre’s Dorfman space. While Duff’s portrayal of a mother entangled in a legal nightmare is widely praised, critics note that the production struggles with a convoluted, implausible plot.
The Reality Behind the National Theatre’s Latest Drama
- Anne-Marie Duff is lauded for her “magnificent” and “mesmerising” performance as Julie, a woman whose life unravels after a tube station confrontation.
A Performance Outshining the Script
The core of the production rests on Anne-Marie Duff’s shoulders, and by all accounts, she carries the weight effectively. As reported by The Guardian on October 16, 2026, the play presents a classic case of a “wholly believable actress inside a story the critic can’t believe.” Duff plays Julie, a middle-aged professional and mother whose life is turned upside down when an 11-year-old boy insults her at a tube station. Her decision to challenge the boy leads to an escalating series of legal battles and a potential prison sentence that critics find difficult to accept as realistic.
In this month’s The Stage Interview, actor Anne-Marie Duff, director Blanche McIntyre and writer Helen Edmundson take us inside the rehearsal room of their provocative new play, Some Woman, at the @NationalTheatre 👇 https://t.co/r6jKtAMyc2
BroadwayWorld notes that the production, directed by Blanche McIntyre, succeeds in highlighting a demographic often overlooked by the entertainment industry: the middle-aged woman navigating a world of casual misogyny. However, the narrative is cluttered with tangential issues—including an adult daughter’s eating disorder and a strained family dynamic—that fail to land with the same weight as the central conflict.
Misogyny and the Legal System
The play invites comparison to recent hits like Prima Facie, which also explored the legal system’s failure to protect women. Yet, Some Woman diverges by focusing on an incident that lacks the clear-cut evidence usually associated with high-stakes courtroom dramas. There is no “Adolescence-style video reveal” to settle the dispute; instead, the audience is left to navigate a world where the legal system is portrayed as fundamentally rigged against women.
The burden of being a woman is exquisitely delineated in Duff’s sophisticated intricacy, while the ambiguity in Edmundson’s script continually muddles the truth of the matter. — BroadwayWorld
While the script’s structural integrity is questioned by critics, the emotional beats remain resonant. The confrontation between Julie and the boy’s father, played by Stephen Wight, is cited by The Guardian as a moment where the “forces of threat, anger and fear feel horribly, sadly real,” even if the plot mechanics surrounding it stretch the bounds of belief.
Production Logistics and Industry Context
The National Theatre’s choice to stage Some Woman without an interval reflects a commitment to a specific, intense pacing that demands much from its audience. Robert Jones’s set design, featuring cold, grey slabs that contrast with the warmth of Julie’s home, serves as a visual metaphor for the protagonist’s alienation.
| Production Element | Critical Reception |
|---|---|
| Anne-Marie Duff (Lead) | Universally acclaimed as “magnificent” |
| Helen Edmundson (Script) | Criticized for “implausible” and “unfocused” plotting |
| Blanche McIntyre (Direction) | Praised for maintaining a coherent pace despite script issues |
The Unresolved Questions of the Narrative
Despite the critical focus on the play’s flaws, the questions it raises about the nature of truth and the power of individual agency remain central. Julie is portrayed as an “everyday female hero” who refuses to accept the victimhood foisted upon her by a society that often ignores the “toxic masculinity” she faces daily. Whether this message is enough to sustain the play’s longevity in the West End remains to be seen. With the production currently in its early run as of mid-October 2026, it is unclear if the script will undergo further refinements or if the production will continue to rely on the sheer force of Duff’s performance to draw audiences.
Do you believe a powerful central performance can carry a play when the plot fails to suspend disbelief, or is the script always king? Let us know your thoughts on the balance between character and narrative in the comments below.
