Quiet Violence

The room smells of Deep Heat. The reason, Sophie Rose explains to us, is because the big physical show upstairs warm up in her studio space. Quiet Violence, she assures us, is not a big physical show.This welcoming preamble isn’t part of her monologue, she is simply chatting with us. Yet it is highly instructive of her tone: conversational, confessional, confident.

Quiet Violence is not big, it’s not physical; but it is clever, it is quiet and it is, in its own charming way, absolutely necessary.

She tells stories of her encounters with others. She watches football with Stanley, who lives in the flat downstairs. She goes to rubbish house parties with her flat-mates. She has bad sex with Craig, her nearly-boyfriend who would never make her soup. All of this is told in the same warm, open and funny manner with which she greets us.

The piece straddles the line between a traditional personal monologue and extended spoken word piece. Occasionally this feels slightly awkward but, since Rose tells everything in her own inimitable style, it’s difficult to criticise. Moments of verbose poetry are countered by charmingly playful images: Stanley’s “nice ‘n’ spicy Nik-Nak knees”; the awkward “doorstep Charleston” she dances outside Craig’s flat, a lonely shuffle whilst waiting for a man that she knows doesn’t love her.

It is in these moments of everyday observation where Rose is at her best – she riffs on carrier bags like an experienced stand-up – and yet the show is underscored by a pervasive ennui, the existential crisis of a 20-something woman at odds with Modernity. Rose navigates and narrates the world with a refreshingly honest confusion. Why does she feel the need to wear high-heels one size too small? Why do we buy cheap toilet paper when we happily waste money elsewhere? Why do we choose to live in Jenga tower blocks: crammed, impractical and too expensive to rent?

These are the acts of quiet violence that we willingly commit against ourselves every day. Rose doesn’t pretend to have the answers as to why we do so, but she poses all of the right questions. Her monologue doesn’t move but it does charm, gently provoking us to consider our lives as they stand and whether we need to change them. Quiet Violence is not big, it’s not physical; but it is clever, it is quiet and it is, in its own charming way, absolutely necessary.

Reviews by Sam Forbes

Summerhall

Borderlands

★★★★
Summerhall

The Ex

★★★★
Pleasance Courtyard

You're Not Like the Other Girls Chrissy

★★★★
Cafe Camino

Woolly Eyed Turtle 3D

★★★★
Summerhall @ Tom Fleming Centre

To Sleep To Dream

★★★★★
Zoo Southside

Quiet Violence

★★★★

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £600,000 to support theatre workers affected by the pandemic.
Donate to Acting For Others now

Performances

Location

The Blurb

A show about blue plastic bags and wearing shoes that fit. Squeezed between tight jeans, jengablock flats and dinosaur ham, a young woman is making bad decisions and an old man is eating too much cheese. They're sharing biscuits on an inflatable sofa: something has to pop. Fast, physical and full of anarchic poetry, shards of life collide in this powerful story of punishment and rescue. Free hobnobs. An exciting new female voice in spoken word theatre, co-produced by Roundhouse. ‘Bold, brave and very special’ (Polarbear). ‘Evocative, unflinching and very funny’ (James Grieve, Paines Plough).

Most Popular See More

The Book of Mormon

From £20.00

More Info

Find Tickets

Hairspray

From £22.00

More Info

Find Tickets

Mary Poppins

From £31.00

More Info

Find Tickets

Life of Pi

From £19.00

More Info

Find Tickets

Matilda the Musical

From £25.00

More Info

Find Tickets

The Lion King

From £36.00

More Info

Find Tickets