When chronic illness crashes into a life that’s going so well, “brilliantly funny” isn’t usually the first phrase that comes to mind. But for playwright Rae Mainwaring, humor, resilience, and a whole heap of glitter were precisely how she reclaimed her story.
At 23, Rae was diagnosed with Multiple Sclerosis—or MS for short (“not to be confused with M&S or S&M”). From that life-altering moment sprang Bright Places, a dynamic, 90s-pop-infused, three-woman one-woman show that tackles the reality of growing up in the shadow of a long-term condition.
Described by The Guardian as a “reflective yet raucous play about living with MS” and hailed as a “glitter-fuelled pocket rocket of a show” (Watch That Scene), the production is heading back out on tour by popular demand.
At its core, Bright Places is a story for anyone who has ever had to search for joy in the hardest of times.
We sat down with Rae to talk about turning personal trauma into theatrical magic, navigating life after a young-adult diagnosis, and why a costume box and a good pop soundtrack might just be the ultimate remedies for life’s dark corners.
What inspired you to write Bright Places for the stage?
It had frustrated me that I didn’t see any authentic representations of MS or invisible illness on stage or screen. I found that characters tended to be older and the narrative incredibly negative. I wanted to write the type of play I would like to see that explores the chaos of those experiences with a sense of hope.
Bright Places deliberately subverts those tropes that the media usually portrays chronic illness.
It had frustrated me that I didn’t see any authentic representations of MS or invisible illness on stage or screen. I found that characters tended to be older and the narrative incredibly negative. I wanted to write the type of play I would like to see that explores the chaos of those experiences with a sense of hope.
Bright Places deliberately subverts those tropes that the media usually portrays chronic illness.
Was there a specific moment or narrative trope you knew you wanted to challenge or completely strip away when writing?
Illness is so often portrayed in a very reductive way. The last thing anyone living with chronic illness or disability wants is to be a source of pity. I knew I wanted it to be very knowing, to be able to laugh at myself and the uncomfortable truths. I found the way we sometimes use terms like brave, inspirational can be a little restrictive. We can feel pressured to be positive, when maybe we just want to rage.
Illness is so often portrayed in a very reductive way. The last thing anyone living with chronic illness or disability wants is to be a source of pity. I knew I wanted it to be very knowing, to be able to laugh at myself and the uncomfortable truths. I found the way we sometimes use terms like brave, inspirational can be a little restrictive. We can feel pressured to be positive, when maybe we just want to rage.
The play opens with three actors debating how best to tell your story. Why did you choose this metatheatrical device instead of a straightforward biographical drama? How does splitting your perspective across three actors reflect the internal experience of living with MS?
When I first started writing the play I tried to follow a more straightforward form, but it wasn’t enjoyable and it kept feeling too melodramatic-not a play would want to watch. I knew I didn’t want it to be a one woman show as and I wasn’t going to be performing it. I’m a theatre maker at heart and love playful theatre that leans into the delight of storytelling. It was also a form of self-preservation, I was in an incredibly vulnerable place and giving the story to three actors put a distance between me and the work. However, it also worked in the sense that it can be anyone’s story and how when we are in our early 20’s we are still figuring out who we are and trying on different hats to see what fits?
Having three actors playfully debate how to tell your story sounds like so much fun in the rehearsal room. What was the most joyous breakthrough moment you had with the cast when bringing this format to life?
The rehearsal process was so joyful. In addition to the three actors, we had an amazingly talented understudy who learnt all three parts!! Natalia (our understudy) and Bex both live MS, so having their input was golden. As a cast they all brought so many insights and comedic ideas. I felt very greedy having such brilliant performers. The play is complex to stage and some bits really challenging logistically. When that all started to come together it was brilliant. The play was developed with director and dramaturg Tessa Walker who brings such positive energy to any rehearsal. This version is directed by the wonderful Jo Gleave and I can’t wait to see where she takes it.
The rehearsal process was so joyful. In addition to the three actors, we had an amazingly talented understudy who learnt all three parts!! Natalia (our understudy) and Bex both live MS, so having their input was golden. As a cast they all brought so many insights and comedic ideas. I felt very greedy having such brilliant performers. The play is complex to stage and some bits really challenging logistically. When that all started to come together it was brilliant. The play was developed with director and dramaturg Tessa Walker who brings such positive energy to any rehearsal. This version is directed by the wonderful Jo Gleave and I can’t wait to see where she takes it.
An early noughties pop soundtrack brings vibrant energy to a subject matter many assume will be heavy. How did pop music help you articulate the friction between being a young person in the 2000s and navigating a life interrupted?
Being in the middle of a period in my life where going out with friends was so integral to my existence, I knew that the play had to be grounded in that. Also, I think music is healing, and energising. I often use music to help give me a boost if I’m feeling tired or lacking inspiration. I needed to hide in the glitter and lights. If you are listening to loud music, you can let your imagination, take you anywhere. When I wasn’t well enough to go out I would let music take me where I need to be.
Being in the middle of a period in my life where going out with friends was so integral to my existence, I knew that the play had to be grounded in that. Also, I think music is healing, and energising. I often use music to help give me a boost if I’m feeling tired or lacking inspiration. I needed to hide in the glitter and lights. If you are listening to loud music, you can let your imagination, take you anywhere. When I wasn’t well enough to go out I would let music take me where I need to be.
What is the one song on that soundtrack that immediately puts you in a good mood, and what nostalgic memory does it unlock for you?
It’s hard to choose, I have a large playlist on my phone that I used when I was writing the play. After the first tour I couldn’t listen to it, it was too emotionally linked.
You’ve mentioned that the show explores the tension between wanting to embrace life and the internalised ableism shaping your deepest fears. How difficult was it to be that honest on paper, and what did writing those fears teach you about your own relationship with your diagnosis?
It was really hard. I didn’t even really know about internalised ableism until I started developing the play. Even though at that point I’d had MS for nearly 20 years. Talking about it meant other people could give me that language. It took a several versions of the play before I felt I could go there. I feared it might be misinterpreted or that others from the MS community might feel misrepresented. It took a lot of redrafting and dramaturgical insights. I also sought artist well-being support, as it was a really challenging and exposing piece to write.
MS is often called an invisible or unpredictable illness where the rules are constantly changing. How did you translate that physical and mental uncertainty into the rhythm and structure of a stage play?
The play started life as mess of ideas. The scenes were rarely written in linear order. Tessa, really wanted us to lean into that controlled chaos, so that the scenes can crash into each other or change without warning. That took us to create a language and rules for the play. So, it’s not so chaotic it’s not telling a story effectively. Making the invisible visible was always a challenge we wanted to explore.
The play started life as mess of ideas. The scenes were rarely written in linear order. Tessa, really wanted us to lean into that controlled chaos, so that the scenes can crash into each other or change without warning. That took us to create a language and rules for the play. So, it’s not so chaotic it’s not telling a story effectively. Making the invisible visible was always a challenge we wanted to explore.
You mentioned how profound it was during the initial run when audiences said the play gave them a language to discuss their illness. Did hearing those audience reactions change how you view the piece as you prepare for this UK tour?
It has helped me to make peace with the anxiety I felt about how it would be received. I was really moved to hear how much people gained from seeing the play. Not just people with MS but across the board. That’s the beauty of theatre I think, connecting with people in a shared space, possibly leaving the room feeling changed in some way.
It has helped me to make peace with the anxiety I felt about how it would be received. I was really moved to hear how much people gained from seeing the play. Not just people with MS but across the board. That’s the beauty of theatre I think, connecting with people in a shared space, possibly leaving the room feeling changed in some way.
The show clearly resonates with disabled audiences who finally see an authentic portrayal on stage, but it also hooks people without chronic illness. What universal themes do you think bridge that gap for audiences who haven't experienced illness firsthand?
I loved hearing from people with no connection to illness saying how much they enjoyed the show. For some that was unexpected, they had gone into it expecting a heavy, depressing play and came out uplifted. I think the experience of feeling your life being out of control, or that you are not living up to the version of yourself you imagined. That’s a common theme. How we navigate friendships, disappointments, feeling different. Those are moments most of us experience. Also, illness and disability can affect any of us at any time. I’m sure if had seen positive representations of young people living with chronic illness or disability before being diagnosed, it would have shaped my experience a great deal.
I loved hearing from people with no connection to illness saying how much they enjoyed the show. For some that was unexpected, they had gone into it expecting a heavy, depressing play and came out uplifted. I think the experience of feeling your life being out of control, or that you are not living up to the version of yourself you imagined. That’s a common theme. How we navigate friendships, disappointments, feeling different. Those are moments most of us experience. Also, illness and disability can affect any of us at any time. I’m sure if had seen positive representations of young people living with chronic illness or disability before being diagnosed, it would have shaped my experience a great deal.
The title of the show feels very intentional and full of light. Outside of the theatre, where or who are the "bright places" in your everyday life that give you energy and joy?
My family and friends are my Bright Places. I love the little wins, like times I can be creative without a work focus. I love walking when I have the energy. I find I really appreciate every time I’m able to walk somewhere. My legs often play up but it’s worth the effort. I don’t go out so much these days, but I love very middle aged stuff like hiring a skip and filling it with all the detritus swamping my energy. It literally the best thing. Completely recommend chucking stuff into a skip and making space!!
My family and friends are my Bright Places. I love the little wins, like times I can be creative without a work focus. I love walking when I have the energy. I find I really appreciate every time I’m able to walk somewhere. My legs often play up but it’s worth the effort. I don’t go out so much these days, but I love very middle aged stuff like hiring a skip and filling it with all the detritus swamping my energy. It literally the best thing. Completely recommend chucking stuff into a skip and making space!!
Coming off a critically acclaimed run at Soho Theatre and now taking the production back on tour across the UK, what are you most looking forward to as Bright Places meets new audiences in different towns and cities this autumn?
We had so many people ask us- “are you coming to us?” during the last tour that we knew we could reach more audiences. I’m so excited to go to new cities and venues. Every space is different and each audience unique. I love hearing from the cast how it’s been received. We are really looking forward to getting back out on the road.
We had so many people ask us- “are you coming to us?” during the last tour that we knew we could reach more audiences. I’m so excited to go to new cities and venues. Every space is different and each audience unique. I love hearing from the cast how it’s been received. We are really looking forward to getting back out on the road.
Bright Places plays on tour in 2026 visiting:
26th September - Nottingham Playhouse
30th September - The Atkinson, Southport
2nd October - Belgrade Theatre, Coventry
8th October - Chelmsford Theatre
10th October - Arena Theatre, Wolverhampton
20th October - New Wolsey Theatre, Ipswich
22nd - 23rd October - Hull Truck Theatre
27th October - The Place, Bedford
29th - 31st October - HOME, Manchester
For more information and to book tickets visit https://www.carbontheatre.org.uk/bright-places
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