There have been occasions when shows have been so bad that I haven’t stayed to the end, but I’ve never been in the situation where the performer called a halt to proceedings. Until today.
Basically Janey Godley is unwell. She’s picked up some sort of bug and is feeling worse for wear, but still soldiered on with the show until she felt dizzy. The impromptu cancellation left the audience a little disappointed, but what we’d seen of Godley’s semi-autobiographical tale was fantastic.
Tinged with a blend of poverty, domestic abuse and self-loathing, Point Of Yes is the dual branched story of Heroin addiction in Glasgow’s East End. One Janey takes that first hit and descends into a self-destructive cycle of addiction and prostitution, while the other carries on with her humdrum and unfulfilling existence.
Point Of Yes offers no comfort or answers and paints a bleak picture of heroin addiction amongst the have nots. Cynics will draw parallels with Trainspotting, but Godley’s first play has more akin with Sliding Doors, and does nothing to glamourise addiction, unlike Boyle’s film. Instead it opens up a dark, depressing world and shows us lives we have only read about.
Godley’s solo performance is intense and touching, and one can only imagine how powerful it would be if she was on top form. Point Of Yes is obviously a very personal work for Godley, but it is one she is willing to share – pop down to the Underbelly and be transported into the underworld.