| What: You Should Go In Writer: Emma Amber When: April 15–25, 2026. Matinee performances on each Saturday of the season Where: Baxter Masambe, Cape Town Bookings: Webtickets Info https://baxter.uct.ac.za/whats-events Performers: Emma Amber andTaylyn Miller Director: Harley Ferguson (and set, costumes) |
𝗬𝗼𝘂 𝗦𝗵𝗼𝘂𝗹𝗱 𝗚𝗼 𝗶𝗻 – 𝘁𝗵𝗲 𝗻𝗲𝘄 𝗽𝗹𝗮𝘆 𝗯𝘆 𝗘𝗺𝗺𝗮 𝗔𝗺𝗯𝗲𝗿 – 𝗕𝗮𝘅𝘁𝗲𝗿 𝗠𝗮𝘀𝗮𝗺𝗯𝗲 – 𝗔𝗽𝗿𝗶𝗹 𝟭𝟱-𝟮𝟱
In You Should Go In, the new drama by Emma Amber, Olly (Emma Amber), a young woman hasn’t seen her father for twenty years. He is dying and in a care facility. In the waiting room, with its bland corporate furnishings and art, Olly has a spirited conversation with Nurse Alice (Talyn Miller) about whether she should go in to the room to see her dad, who is dying: To grant him forgiveness? To give Olly closure? Redemption for her dad who was absent from her life? Why should she go in; can she go in?
It’s a play, which grapples with abandonment, secrets, accountability and forgiveness. Everyone has a story and stories may vastly different in various situations. Can bad people “change”?
Aspects of the play have been drawn from Amber’s life, although aspects are fictional but it is story close to her heart. She was crying at one point in the play. We were in the front row. I thought – ‘wow – that is impressive acting – real tears’. Afterwards, I found out that Amber has drawn liberally from her own life.
It is a deeply personal play and this is evidenced in the intensity of the performances. Perhaps, it is a bit too intense. I would have liked Olly to perhaps break into a favourite song that her dad sang – before it all unravelled. Or for the nurse to hum a tune.
In a sense this play is a companion piece to Amber’s Ovation Winning, Love Me, Feed Me, Never Leave Me (National Arts Festival Makhanda). I am not going to narrative spoil about the references but that script was also informed by Amber’s life and story and is transfigured with an aching tenderness in You Should Go in, via the protagonist of the Nurse.
Love Me featured song and comedy and I think that some song and comic moments could be incorporated into You Should go in, to give relief and release. I get that Amber alternates between creating drama and song/comedy shows but in my opinion, this interesting play could be lightened somewhat.
I loved the set – zush corporate/retirement living. White screens are like shrouds, cleverly enclosing the Masambe. For me, the white screens conjure up, a womb. It is a safe space, partitioned off, private. The gorgeous set is by Harley Ferguson who is also directing.
Ferguson and Amber are married – to each other. This is his debut as director, for stage. You Should Go In is a play which poses tough questions and which is bound to ignite conversations – forgiveness, regret, family and how to deal with the baggage. And yes, it is a cautionary tale but it is also a prompt – to examine choices – for all.
Engrossing narrative, hard-hitting text, delicate and sensitive in parts, stylish and smart design and emotionally heightened performances, evoking how tough it is to navigate family relationships. I thoroughly enjoyed watching. And it got me thinking about Waiting Rooms – read on.
I said in my mini review of Stupid F Bird which I saw in the Baxter Studio last week, that it was better than therapy. Same goes for You Should Go In. You Should Go In is better than therapy. Mediators out there: Urge straying parents, abandoning their families to reconsider their choices.
This play is bound to be triggering – in a good way – for those who are conflicted – about letting toxic people into their lives – emotionally and physically. In You Should Go In, Nurse Alice implores Olly to go in and see her dad. But, one might say that her cajoling is motivated by guilt, because she (Alice) abruptly walked out of a room. I won’t narrative spoil. Core to Nurse Alice’s prompting, is that she is assuring Olly that her dad has changed, that he is a “nice” and “caring” person. What about the Janus faced monster who shape shifts – the monster prison boss who has a wife and family he adores but is vile to everyone else?
Amber continues to amaze me with the scope of her work – comedy, drama, musical theatre. In You Must Go In, she shows a maturity, beyond her years (she is under 30), as she sets up a captivating narrative, with two beguiling protagonists and the unseen protagonist – the dad- who has sparked their interaction.
This play got me thinking. I chatted with people who have been in similar situations. Some gained closure and solace and were glad from the visitation. Others felt disappointed; that it was an anti-climax. You Should Go In, left me pondering: Why is it incumbent for Olly to go in to the room? Why should she grant penance to her father? Maybe, it is enough that she has showed up, into the waiting room. Amber drives that home, dramatically, by deliberately placing the narrative in the waiting room, not at bed-side of Olly’s dad. Maybe, it is enough that she has showed up and does not necessarily have to go in – physically. No judgment or guilt required. Either way, it is emotionally wrenching. Maybe another play by the talented Emma Amber?
And here we are, in waiting rooms, contemplating whether we should go in – not only physically but emotionally. Go and see You Should Go In and have a think about that.
