Jesse North Is Broken Review: one-woman show finds power in gender politics
- Jack Davey
- May 12
- 3 min read
Updated: May 14
11 May 2026 I 19:45 I York Theatre Royal Studio
⭐⭐⭐ I PR - Invite
Stories about the healthcare system are steadily trickling into the mainstream, between the National Theatre's acclaimed production of Nye, and new NHS musical Lifeline. Where these are both highly ensemble-focused, Jesse North Is Broken takes on the tricky one-woman show, written and performed by Martha Godber. Spotlighting a 25 year-old carer on minimum wage, this world premiere is unapologetically sincere, though hesitant in its identity.
Staged in York Theatre Royal's modest studio space, the play is proudly northern. Jesse hails from a working class town in Hull, inheriting the social pressures that come with it. And the lifestyle of a carer is relentless. Narrated over one night, audiences follow her journey from shift to dance floor, late night kebabs and early morning call-outs.
We see Jesse in her profession very briefly, where the show regards itself more with her craving for human connection outside the job. A primary plot line involves her one-night stand with 6'2" Danny, and the sexual politics of validation and objectification as a young woman. The conversation opens to how the notion of male respect has changed from early 20th century relationships, giving a unique viewpoint that Jesse comes to envy.
The production is marketed with a clinical impression, however under Millie Gaston's direction, its observations of gender excel the most. Even briefly dipping its toes into the trend of toxic masculinity, it critiques misogyny and speaks to female audiences on a universal level. ADHD features in the show description, and is thrown into one line with no expansion. As an underrepresented condition in theatre, I would have valued more on this.
Godber's script is the highlight of the evening, often spoken in verse with a poetic tone, steady in rhythm and becoming irregular in moments of distress. The rhyme and bounce of the text is incredibly fluid, it never once lost my attention. Heavy on its use of colloquialisms, it initially feels like a stand-up gig, rolling with comedy and engaging with the audience, though this soon mellows out. As someone who struggles to imagine fictional settings, the descriptors are so rich and believable.
And Martha Godber is extremely captivating as the title character. The concept of the production feels very personal as an actress, allowing her to run with something that exudes authenticity. The closeness of the studio space heightens her performance, sustaining eye contact with the audience to expose every dimension of the role, and multi-rolling quirky characters with great charisma.
Featuring 10-15 minutes of club scenes, the piece could benefit from low-level diegetic music to underscore the text, as Godber becomes swallowed up in the silence, trying to singularly recreate the chaos of a nightclub. The first sustained piece of music plays in the toilets, which would instead be enhanced by silence as a place of sanctuary. It must be said that a soundtrack including hits by Dua Lipa and The Weeknd is always a bonus!
Inspired by interviews conducted by Martha Godber on the experience of young carers, there are slights of real brilliance. Produced by the John Godber Company, their debut of Jesse North Is Broken takes a powerful stance on modern attitudes, celebrating ownership of the female body in a society that sexually oppresses women. Across one-hour, the play demonstrates great potential on its first outing, and playing until 14th May, its message is one of urgency.
Tickets and Information: https://www.thejohngodbercompany.co.uk/jesse-north-is-broken-3
