Jessica Clark plays this Daphne with a frantic edge – the character’s need to please makes words catapult out of her before she has time to think them through. Clark also does a remarkable job of finding light and shade in a text that is dense but has might. Centring on the experiences of bisexual women, who are significantly more likely than heterosexual and lesbian women to be abused by their partner, it blends the past with the reality of the present. Peppered with artful what-could-have-been moments and self-aware sides, this mammoth story is squeezed skilfully into 70 minutes – and for the most part, it drives. RM: Yeah, because of where I am in my life. I got married recently, am thinking about having a family, and it gets to a point where you feel you love this job so much because when theatre is good there’s nothing else like it. But I do want to be able to live.

Work as Assistant Director includes: Pericles (Shakespeare’s Globe), Romeo and Juliet, The Wind in the Willows (Chester Performs), Boeing Boeing, Afterplay, Love Your Soldiers, The Winter’s Tale (Sheffield Theatres), and The Killing of Sister George (Arts Theatre). Rebecca Bantvala portrays both the girlfriend and the girlfriend’s brother with absolute conviction. Using subtle touches of persona, which become more evident as the play progresses, it is an absolute gem of a role played to perfection.Rafaella Marcus is a 2021 MGCFutures bursary winner and JMK Award finalist. Her work as a writer & director focuses on new writing and bringing to the stage marginalised voices, especially women. She is currently developing new self-penned play Sap, and writing new audio drama for Big Finish TBA.

EK: We commissioned Raf because I knew of Sap and couldn’t take it to Edinburgh that year. I wanted to keep the flames of our collaboration burning. The common semantics of trees appear throughout; the title itself and recurring themes of roots, planting her in the ground. Mentions of decay and trees overtaking a house, almost like nature is overtaking. These moments, along with more conversation-like script work well together, the poetic descriptions of her being ‘rooted’ into the ground in fear help the audience understand her psyche. Moreso, they help her deal with what is going on, she’s able to distance herself from the situation and focus on what her body is feeling- almost like a defence mechanism. Work as associate director includes: Emilia (Vaudeville Theatre), Fury (Guildhall) for Nicole Charles; The Cause (Jermyn Street Theatre) for Andrew Shepherd. A contemporary fast-paced thriller with ancient roots, SAP is directed by Offie-nominated Jessica Lazar (Anna Bella Eema, Arcola Theatre; Outlying Islands, King’s Head Theatre; Dangerous Giant Animals, Edinburgh Fringe/United Solo Fest New York/Park Theatre). This debut play by Rafaella Marcus is a queer urban fable about bisexuality and what we allow people to believe. A white lie Daphne told to her partner about not being attracted to men spirals out of control, and is used against her. The play becomes frantic, with Daphne, to no avail, trying to untangle herself out of the situation she has found herself into. Nature is used as a metaphorical device in Daphne’s monologues as she suffocates from the situation. Sap is difficult to watch in terms of subject matter, but it’s also difficult not to take your eyes off it in terms of performance. On the reflective floors, Clark and Marcus both present sensitivity in their characters but easily provide the dramatic intensity some of the scenes demand.From the 1st few moments of SAP you know you’re in for some incredibly engaging theatre. Jessica Clarke’s top-notch performance reaches out and grips everyone in the audience. The 1st section of the play is very relatable and delivered with a comedy twinkle. The later sections demanding depths of emotions that are both conflicting and powerful. Rafaella Marcus has produced such a beautiful and complex script, conversational, poetic, funny and emotional, all in the space of an hour. The actors are incredible at bringing it to life in a way that makes it feel a real privilege to be a part of the audience. How many men?" asks Daphne's girlfriend. An accusation more than a query, one many bisexual women have heard when they're entering a same-sex relationship. Rafaella Marcus pinpoints the eternal bisexual struggle in Sap , which has come to London after a starry sell-out run at Edinburgh Fringe last year. She explores prejudice and stereotype, fetishisation and biphobia through a precise commentary wrapped into a viscerally poetic tale. When Daphne lies by omission, she accidentally and nonconsensually enters a dark, twisted game. Performer, Rebecca Banatvala, skillfully multi-roles as work colleague, girlfriend and guy. There’s a real symbiotic energy between the two performers who can with the flex of their bodies, or a single expression convey passion, fear, disappointment or distance. Lazar has her kiss the soon-to-be girlfriend tenderly after having previously engaged in an intense balancing act with the man. It's a striking summary of Daphne's precarious equation. From the poetic elements of the writing and its visual allegories down to the staging and performances, Sap is a gem.