Supposing at Traverse Theatre Review
Supposing is an experimental and Greek influenced play, exploring what would happen if a woman was cursed to be able to predict very specific futures of those in danger. Who will believe her? Her husband? Herself? What happens if she does believe herself, and even more alarming – if she is right? An intriguing and original play written and directed by veteran playwright Zinnie Harris.
The play is in the Traverse’s downstairs studio, a smaller space akin to The Kings Head Theatre in London. Lights up on a circle on the floor of the black studio, audience on three sides and a woman named Sally (Nicole Cooper) monologuing about her recent accident of falling down a hole on the street. Cooper is magnetising and maintains a passionate strength throughout the piece – she has been a standout performer at the Edinburgh Fringe for me this year. Sally’s character goes through a rollercoaster of emotions within herself and interpersonally. Richard Conlon, playing husband, Richard, does a brilliant job of balancing Cooper’s strength with a torn partner trying to keep more than one part of his life together. Together, the couple could benefit from some more tender moments to show the audience why they’re together – as the conflict takes over almost immediately.
There are moments of direct address to the audience, which seems out of place at first, but only adds to the experimental structure and format of Supposing. The first scene between Sally and Richard begins with a sentence which gets repeated four or five times with different intentions - immediately setting the play to experiment with form and expectation. Supposing is so layered because of this, making it wonderfully endless to analyse and interpret.
The play has a few moments which brings the audience out of the play - possibly because it is so up to date with current affairs. It speaks very openly about the fear of a Reform government coming to power, of hate crimes against trans people and migrant families. Perhaps these very explicit and unflinching references will become outdated quickly as we move into the reality of a Reform government, or perhaps into a world where we no longer need to worry about hate crimes against marginalised communities. The play alludes to both of these future possibilities and there is a rawness to that self-awareness which only adds to the complexity of Supposing.
There is something for everyone at this show – especially for a more critical Fringe audience who are seeing several shows a day. You will have plenty to talk about and analyse here. The references to Greek text, the intriguing design choices, and the last-minute performance surprises (you’ll have to see it to see what I mean) all offer another layer to Supposing.
Supposing runs for 80 minutes straight through at The Traverse over Edinburgh Fringe, from the 6th to the 30th August 2026.
★★★★
Written by Eloise for Theatre and Tonic, August 2026.
Content Warnings: Contains strong language, discussions of child loss, cancer, community violence and a description of deteriorating mental illness.
