The main stage of the Bush Theatre seems like an intimidating space, especially for a show centred around one woman’s story with one performer. When walking in, the first thing I noticed was the earth around the stage, and the front of house team gently reminding people not to step across it while finding their seat. The stage was bare in its design by Simon Kenny. A raised platform outlined by simple brickwork that, at small but generous moments, comes away to reveal more elements. A well. A fire pit. Now we have fire, earth, and water. What makes the air? The grace and movement of Berthelsen as she stepped onto the stage to deliver her first lines. Her energy and vitality generated more than air. They created a genuine connection. No small feat with such a large audience. Berthelsen throughout is committed as she depicts a child, a daughter, a sister, a woman, a survivor and a victim. At a time when a lot of other powerful one-person shows are in London right now, Darkling may be the show that demonstrates how it is done best. Xia’s direction allows the piece to breathe, to connect with Halder’s poetry and complexity, but also to hold moments that are fun, girlish and playful. Movement direction by Anjali Mehra allows freedom throughout, with no inch of the stage untouched by Berthelsen.