Carbon Theatre brings When We Died, Alexandra Donnachie’s striking new play about trauma and survival, to the Ustinov Studio

Carbon Theatre present their bold one-woman production, When We Died, at the Ustinov Studio at the Theatre Royal Bath on Thursday 27 July at 8pm as part of a UK tour. This striking new play about a woman’s choice to tell her story, on her terms, provides a captivating portrayal of trauma and ownership through a survivor’s story.

When an embalmer, who often imagines the lives of those she prepares for their final goodbyes, is unexpectedly faced with a man who she knows, she is confronted by the choice to take control of her narrative and face the trauma buried deep within. An intimate tale of overcoming the past and fighting for control, this poignant production follows one woman as she encounters the body of the man who raped her eleven months ago.

Written and performed by award-winning actress and award-nominated writer and theatre maker, Alexandra Donnachie, When We Died highlights the pivotal themes of male violence against women and lasting trauma in a raw and moving one-woman show.

Despite a drive from various organisations and charities to better educate men and boys on how to speak against and discourage inciting violence against women, the statistics are showing few signs of slowing. Suitable for adults and over 14s, this new play reflects the lasting trauma that rests within these themes and presents an honest portrayal of the reality of a survivor’s story.

After an early version was long-listed for the Bruntwood Prize for Playwriting in 2017, When We Died premiered at VAULT Festival for a brief and successful run before being interrupted by the pandemic in 2020. Returning three years later to tour the UK, the production remains relevant and addresses the prevailing issues in a fearless depiction of female strength and resilience.

Writer and performer Alexandra Donnachie says:

“I’m incredibly proud of the play and thrilled to be taking When We Died out on the road and to be performing it again, but I feel incredibly conflicted between being thrilled it is still relevant for the sake of getting to perform it again, but also mortified that its story hasn’t yet become dated. I hadn’t heard the names Sarah Everard or Zara Aleena when I began to write When We Died and I hate that I now know them for all the wrong reasons. Violence against women isn’t stopping, or apparently even showing signs of slowing down, and if our play can help raise awareness of this, and have a part in educating those among us - especially men - about the importance of calling out what can often start as ‘jokes’ and ‘banter’, but can soon turn sinister, then I’ll gladly keep performing it until it’s considered unnecessary.”