York Theatre Royal – until 14 May 2026
Reviewed By Sal E Marino
5*****
At York Theatre Royal, Jesse North is Broken proved to be an absorbing, emotionally raw and deeply compassionate piece of theatre, both written and performed by the exceptionally talented Martha Godber. Brilliantly directed by Millie Gaston (and produced by the John Godber company), this powerful one-woman play introduces us to Jesse, a 25-year-old carer whose life on the surface appears to be fast-paced and fun as she and runs on the mantra “work hard, play harder”. However, under her show of bold bravado, within Jesse, we find a much more vulnerable and ‘broken’ soul than she first presents …
From the opening moments, Jesse feels authentic – lively, a little chaotic and immediately likeable. She genuinely cares for her clients and approaches her work with tenderness, patience and humanity. Yet we start to learn that the emotional burden of caring takes its toll, and Jesse survives through the ritualistic escapism of nights out in Hull. Godber captures this world brilliantly — the “pres” (pre-drinks that is) with her best friend Jimmy, the careful selection of an outfit, the anticipation of the clubs, the determination to “pull” and find connection, validation or simply oblivion for a few hours.
What makes the writing so effective is the way these nights out are portrayed not as glamorous rebellion but as necessity. Jesse is almost programmed into the cycle, chasing release wherever she can find it. On this particular evening, despite it being Jimmy’s birthday, she leaves him behind after meeting someone early in the night, driven by that relentless need for escape. The evening then spirals into disaster, regret and the crushing reality of a hangover with a work shift beginning in just two hours.
Godber’s performance is extraordinary throughout. Alone on stage, she shifts seamlessly between humour, vulnerability, intoxication, shame and exhaustion. Her comic timing is sharp and natural, especially in the nightclub sequences, yet beneath the laughter there is an aching sadness. Jesse’s self-destructive behaviour is never judged by the play; instead, it is understood as the symptom of someone emotionally overwhelmed and desperately trying to cope.
The final section of the production is devastating in its simplicity. We watch Jesse visit an elderly client and suddenly the chaotic young woman from the night before becomes calm, attentive and full of warmth. Godber reveals Jesse’s innate kindness so beautifully that the audience cannot help but reassess any assumptions they may have formed about her. This is a young woman some may dismiss as irresponsible or reckless, yet in these moments she becomes exactly the person you would want caring for someone you love.
That contrast is what gives Jesse North is Broken its emotional force. The play asks us to look beyond easy judgement and recognise the pressures placed upon carers, especially young working-class women expected to endlessly give of themselves while receiving little care in return. By the end, the audience understands Jesse’s need for release completely — but also hopes she might one day learn to look after herself with the same compassion she offers others.
This was an outstanding piece of contemporary theatre: funny, heartbreaking and fiercely humane. Martha Godber announces herself not only as a gifted performer but as a writer with tremendous empathy, insight and emotional intelligence. Jesse North is Broken lingers long after the curtain falls.