Where they perhaps fell a little short was in excitement for their audience as although the piece provided plenty of interest, it was an experience that was bound to vary from person to person.
The flippant tone of a bored housewife (the titular Zena) was soon derailed in the chaos of a hostage taking, with a focus on Stockholm syndrome and the key to surviving such an assault on the body and senses. For me, Gillard's central role was an intense exploration of the disturbance of the human psyche and the need for human contact under the impact of seismic grief.
But the suspicion arose that all was not as it seemed, encouraged by some of the flowery language and the various means (book reading, TV interview) employed by the character to keep her mind focused in a time of trauma. That initial tone was perhaps a giveaway but while I waited to find out if my naturally doubtful interpretation was correct, no definitive answer was permitted.
At just over an hour, this is a short, slick production with live music from composer and cellist Robin Mason. Videographer Tim Brinkhurst, and projection and lighting by Kate Bonney, add to Ali Maclaurin's screen-based stage design. Tour details at www.occasionalcabaret.com