Diagnosis – Finborough Theatre

Athena Stevens commands the stage in the world premiere of her new play, Diagnosis, playing at the Finborough Theatre.

In a dystopian London police station, a woman with a disability, S/he (Athena Stevens), is questioned about an alleged assault against a stranger. In accordance with new procedural law around ‘vulnerable individuals’, she is taped, watched by an audience through a one-way mirror, and forced to be taken seriously – or that’s the idea. In reality, the endless red tape acts less as a support system than as a distraction from the truth of her story.

The set is immediately eerie. There is one window, blinds drawn, through which an ominous red glow seeps into Juliette Demoulin’s dark interrogation room. A camera on a tripod records and projects onstage the entire questioning process, adding a brilliant edge of surveillance to the play’s most vulnerable moments.

Much of the play centres on S/he recounting her night to the Officer (Ché Walker). Despite his repeated attempts to dismiss her, she owns the space. Stevens takes centre-stage in these moments to such an extent that at times it feels like a solo show. Her performance captures a genuine despair directed at the system and those who serve it. This culminates in a beautifully performed final line, which she sobs into an empty room, followed by what felt like about a minute of total silence.

These storytelling monologue-style sections are also where the writing really shines. Stevens approaches her character’s life with sensitivity and wit, pouring meaning into the most minute details – I loved her calling the Tube workers ‘my guys’.

The dialogue occasionally loses some of this sparkle – partly because so much of the early script is dedicated to exposition, and partly because Officer’s character is not quite as fleshed out as hers. It feels slightly one-note, even with Walker’s impressive performance.

Diagnosis deals with truth, credibility and failing systems designed to protect vulnerable people. It is the lack of credibility afforded to S/he by the police that leaves a lasting impression. Halfway through, Stevens stands and screams ‘you don’t understand’ over and over again, before collapsing on the floor. In this moment, the show bares its heart: no amount of legislation can replace being listened to.

Reviewer: Holly Sewell

Reviewed: 16th May 2025

North West End UK Rating: