“I’m going to rant for a bit,” says Kate, a 26-year-old botanist, during her therapy session at the start of Auto-Engrain. And it is true, this monologue written and charismatically performed by Helena Collins O’Connor is more of a splurge of thought than a linear story. A year and eight months have passed since the end of her last relationship, and Kate is trying to move on with her life and get back out there. But, as she starts to realise the extent of abuse she was subjected to by her ex-partner, the horrors of her past forcefully tumble into the present day.
Beginning with their first meeting, Kate initially speaks fondly of an “engrossing” romance. She challenges him to eat a whole plate of ribs, before he entices her with his “toxic” green eyes. All too quickly, the poisonous signs come creeping in; he checks her phone while she’s asleep, he gets jealous when other men approach her. Bit by bit, Kate’s spark is lost to a relationship that pushes her away from her family and friends. This is a nightmarish, slow burn of a play that touches on the pull you feel to stay with someone even when you know you should not.
