Crucible Playhouse performance of Jane Barrie’s Invisible has the 'Juice'
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Without wanting to spoil the plot in any way, I would recommend you seek out a performance local to you
Every week, like clockwork, five women meet up and lament the perception of the older woman in society in this fast-paced, emotionally-charged, comedy drama about how women are unseen and invisible… but not in the superhuman sense of the word.
Written and directed by Jane Barrie, Invisible is the latest play to be performed by the Totally Visible Theatre Company, an all-female north England touring ensemble, and the entirety of the play is set in the dining room at the home of Timandra (played by Jo Morlidge), who is awaiting the arrival of the weekly cohort.
Nell (Linda Sunners) arrives with two heavy bags of shopping in tow, and she quickly goes into a rant about the shocking content being discussed in their friend Donna’s latest podcast episode, ‘My Perfect Vagina’.
Nell’s sister, Evie (Vanessa Duffy) soon enters, and they spend some time amusingly deconstructing the recent episode’s subject matter before cutting off with stifled giggles as the totally oblivious Donna (Angela Hall) makes her entrance.
The last of the ladies, Blessing (Heather) enters, complete with a freshly-baked cake. One that has all the ingredients of a culinary disaster and only vaguely follows the recipe instructions.
Each Saturday, Timandra, Nell, Evie, Donna and Blessing meet up and collectively put the world to rights, just as they have done for years, except this time around they are planning each of their funerals – how morbid, right? Not so, this is one of many joyous and sarcasm and snark-infused elements that course throughout – and that’s all without referencing the many laughter-inducing moments from Donna’s hilarious misunderstanding of the lyrical content of Lizzo’s ‘Juice’ to Kelis’ seminal-hit ‘Milkshake’.
An insight into the psyche of an ‘older woman’, Invisible is a fantastic comedy drama that looks at how women deal with their perception in society and by others as they age, all while trying their best to remain tapped into an evolving world that acknowledges them less than ever before.
This is brought home with remarkable pathos and justification by Nell, who reveals that the food she came to Timandra’s with had been surreptitiously pilfered from various shops en route – but as a principled thief Nell is loathe to take from smaller independents, instead focussing on chains that ‘won’t even notice its gone’.
It is in justifying her sticky-fingered habits that we see Nell’s frustration with being ignored by society that does not see an older woman as capable or even mattering, leading to her silent protests delivered in the form of casual larceny as a middle-finger to those she sees as ignorant.
But ignorance is a full-circle affair, however unwitting it may be.
From lamentations of the lack of older women focus in TV and film to the dismissing of a woman’s intuition and input on the world stage, Barrie’s play is a humorous, insightful and provocative barb to the notion of inclusivity, equality and the dismissive attitudes afforded to the opposite sex in the modern age.
Despite the five ladies being (rightly) frustrated with how they are singularly and collectively seen as invisible in society, it is also not apparent to those of that older generation that they too may not see their own offspring as adults deserving of the same candour, inclusion and respect, and not simply as children.
Barrie’s writing and direction for each character makes clear with a marked accuracy and an emotively witty take at how people can be so caught up in their own battles they are blinkered in their own outlooks and parental relationship miss-steps.
Performed in two acts, Invisible is an emotional rollercoaster that provides a terrific insight into the forged relationships between women of varying ages in different situations. Something which the sharp change in the second act brings home with crushing impact.
For many of the women in attendance at Invisible’s sold-out Playhouse performance it is a moment in which they may feel collectively ‘seen’, understandably – and for the few men in there it is perhaps an awakening to the accountability they must take in overlooking women in society, politics and all aspects of life. I’d say it applies not just to gender but in the understanding of and importance in not putting people to the side as a whole.
Simply put, Barrie’s Invisible is a superbly crafted insight into the female mind across the ages from multiple perspectives, without the almost archetypal references to menopausal malaise, that expertly gives insight into various character types as well as inner (and some outer) conflicts without leaning too hard so as to be caricatures .
This is something that has been brought across with a care, comedic timing, expression and measured performance by each of the cast – including the two daughters, Pippa and Daisy who bridge the divide in generations and serve as a warning that invisibility is generational.
Without wanting to spoil the plot in any way, I would recommend you seek out a performance local to you, wherever and whenever possible. I’d certainly like to see Invisible return for more than a singular performance the next time around. It’s more than deserving of that.
Invisible is a highly enjoyable, warm, perfectly-paced performance that puts a spotlight on those who feel unseen, and despite it probably appealing to a particular demographic I do believe that it is a story that can be enjoyed by anyone and everyone – it is just that well-delivered a show.
Invisible was performed at the Playhouse, The Crucible, Sheffield on Wednesday, July 1, 2026.
Follow Totally Visible Theatre Company on social media: https://www.instagram.com/totallyvisibletheatrecompany/
Find out more about upcoming shows, events and performances here: https://www.sheffieldtheatres.co.uk/