Inertia – Dovecot Studios

Ragana Productions paints us a picture of one woman’s post-Soviet life in Inertia at the Edinburgh Fringe. Having lived her life under the thumb of male domination, we see the ways in which Frida (played by Ola Olsinova) is haunted by her traumas, and how they reflect on those around her following the suicide of her abusive husband. Written and directed by Trudy Kalvynaité, this is a dreamy and wistful play filled with generational rage and sadness.

Olsinova delivers a strong and complex character, showing us both the gentle, caring side of Frida, but also the unpredictable, wounded woman who is stuck in her past. Supporting Frida is Marta (played by Daiva Malina) — Frida’s best friend and confidante, who stays by her side even in Frida’s most vicious moments. Malina’s performance is an honest and faithful portrayal, bringing complete believability to her work. We feel for her character as she tries to navigate her friend’s deteriorating mental health — she loves her, but can she stay with her?

Matters are complicated further as Frida has two foster children, Hermi (Ben Black) and Lucy (Ruby Rutherston). Black and Rutherston make for a lovely pair, adding a child-like innocence to the play. As they grow up, we see how Frida’s mental illness has shaped the twins, with Hermi especially seeming to inherit her darker traits. The chemistry between the two women and the twins was lovely to watch, with each actor showing a genuine care for the others.

We also had Chris Pearson as Monsieur, Frida’s old ballet teacher and seemingly the only positive male role model she has had. The relationship built between the two was very heartening to watch. Finally, JJ Hay plays Claude, a cousin of Frida’s late husband, with whom she has intense and contentious relations. Hay successfully embodies the role of the slimy male looking to dominate Frida, allowing us to immediately gain thematic perspective and insight into her state of mind.

While the play was enjoyable overall, I feel that towards the end we lost our intention slightly, with some scenes feeling unnecessarily long-winded. Sometimes the writing was sharp, conversational, and witty, yet at other times very prosaic and almost self-serving. I was particularly interested in the piece of movement we saw in the middle of the play, as we hadn’t yet seen any other physical theatre incorporated. I appreciated the analogy — with silk cloths connecting Frida’s self-harm bandages to the other characters — perhaps aiming to address the generational consequences that the cultural and personal context of the play has caused its characters.

With the stylisation of the movement, we also connected this moment to Frida’s love for ballet, with Black and Rutherston both moving gracefully and carefully around the stage. I do wish we had seen Frida dance at some point, but I suppose the message was that she never really recovered — she was never able to feel that freedom. This addition to the play wasn’t entirely out of place, as stylistically it matched the dazed, dreamlike feel of the piece, but I do feel it needs some workshopping. Perhaps the limited tech available in the space took away from the dramatisation of this moment.

In all, this was a very intense play that addressed themes we so often don’t see in Scottish theatre — specifically the subtle address of the Soviet Union. This glimpse into Eastern Europe filled a niche space in the theatre scene that I hope opens pathways for more work on this subject. Kalvynaité’s work was certainly interesting and well-motivated — this piece has made me curious, and in theatre, I can’t ask for much more than that. Inertia runs until the 10th of August at Dovecot Studios, with tickets available at https://www.edfringe.com/tickets/whats-on/inertia

Reviewer: Jessie Martin

Reviewed: 6th August 2025

North West End UK Rating: