“I COULDN’T write like that at 25,” said John Godber, writer of more than 70 plays since the age of 21, after watching daughter Martha Godber on the first night of the York Theatre Royal Studio premiere of her solo show, Jesse North Is Broken.
In the back row of the Studio full house too were her mother, Jane Thornton, writer and director; sister Elizabeth, burgeoning playwright with credits at East Riding Theatre and Pocklington Arts Centre, and Nick Lane, Doncaster playwright and director, who has a long creative association with John Godber.
On the evidence of her hour-long play, Martha already has found her own forthright voice and theatrical rhythm to go with her formidable acting skills, last seen on the Theatre Royal stage in Godber senior’s hymn to Northern Soul, Do I Love You? in June 2025.
Directed with economy by Millie Gaston to match Martha’s intensity, Jesse North Is Broken is a spoken-word drama, performed against the backdrop of a white canvas, daubed with a skyline, and two neon lights of changing colours to either side. Martha utilises only one stool and no props or costume changes – even sparser than Godber senior’s Bouncers – as everything is conveyed through voice, physicality, facial expression and movement, drawing on the dance-floor shapes she paraded in Do I Love You?
Addressing the theme of working-class survival in Britain, Martha’s play takes place over one torrid day’s journey into the long, long Friday night and back to work at dawn without sleep. She is playing Hull care worker Jesse, 25, who is introduced to the audience in direct address on her latest £13.50-an-hour shift as she looks after her 94-year-old patient.
Martha’s Jesse will remain in her carer’s uniform throughout, in a constant reminder of her chaotic working conditions, but she will describe her dance-floor dress and later undress on her night out on gay best friend Jimmy’s birthday that ends in a one-night stand with a 6ft 2 stud, told in full detail from greasy kebab and bus journey, to the state of his bedroom and bathroom, and how he no longer looks so hunky afterwards.
The surging lust is interrupted both by Jimmy’s messages, wondering where she is, and by a carer colleague’s early-morning call, asking her to cover a shift for her. All is conducted with frank humour and confessional candour in Martha’s script, full of social observation and frustration at “the system”, while wryly capturing the ups and downs of a night out in Hull and the way the city moulds how she lives.
Like the kebab, the cheap thrills don’t last, the problems of being underpaid won’t go away, Jesse’s ADHD makes her all the more anxious, and yet she loves those in her care and wishes that carers and patients alike had a better deal.
As the title suggests, Jesse is broken on the wheel of an uncaring state that uses and exploits her, and more young women like her, but you sense she will be on the pull again next weekend.
“Is that all there is?”, Godber senior’s volcanic character Lucky Eric asked in his existential monologues in Bouncers. Almost 50 years later, Martha’s Jesse is asking that question again, and alas the answer is still the same, come Hull or high water.
John Godber Company presents Martha Godber in Jesse North Is Broken, York Theatre Royal Studio, tonight, 7.45pm, with post show-discussion; tomorrow, 2.30pm and 7.45pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
