By TheatreVillage 
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An amateur theatre is making a pioneering move by employing a wellbeing adviser to support the cast of its production of the widely acclaimed thriller, The Girl on the Train. This gripping narrative, adapted from Paula Hawkins’ bestselling novel, delves into “dark content” that explores heavy themes such as domestic abuse and alcoholism.
At its core, the story follows a character named Rachel as she endeavours to unravel the mystery surrounding a missing woman named Megan.”I wanted to take extra measures to ensure our cast and crew were fully supported and safe throughout this challenging process,” explained Davina Beegoo-Price, co-director at Sharnbrook Mill Theatre in Bedfordshire. Her commitment reflects an understanding that engaging with such intense material can have profound effects on those involved in its portrayal. Emily Dignan, who takes on the role of Megan, expressed her surprise at the introduction of a wellbeing adviser in an amateur production, stating that it is “mostly unheard of” but insists that “it should be a necessity in the arts.”
The 21-year-old actress described her experience with The Girl on the Train as “an eye-opening experience,” acknowledging how the storyline tackles various themes that can potentially trigger emotional responses but also serves to spread awareness about important social issues.”This is actually my first encounter with this wellbeing role,” Dignan shared enthusiastically. “It’s such a brilliant asset for us as performers. We have had wellbeing check-ins with Chris and they made me feel seen, supported, and valued as an actor—something which is crucial when you consider how often you’re just expected to ‘get on with it.’
The decision by Sharnbrook Mill Theatre to incorporate a dedicated wellbeing adviser underscores an increasing recognition of psychological challenges faced by performers—especially when productions venture into emotionally charged narratives like this one. As actors navigate complex emotional landscapes while embodying their characters’ struggles and experiences onscreen or stage-wise, having someone whose sole focus is their mental health can prove invaluable. Beegoo-Price’s initiative not only prioritises welfare but also sets an important precedent—one which other amateur theatres could do well to emulate. It’s imperative that art authentically mirrors life while simultaneously safeguarding those who breathe life into these stories—they must feel protected and heard throughout their creative journeys. Duncombe-Cooper’s presence as a wellness coach marks an encouraging step forward towards normalising conversations around mental health within theatrical communities—a sentiment echoed by Dignan’s reflections which resonate deeply among actors frequently grappling with intense material devoid of adequate emotional support structures. Her experiences highlight an urgent need for ongoing dialogues regarding mental health within creative spaces; fostering environments where performers feel empowered enough to share their vulnerabilities without fear of judgement or repercussions becomes paramount. As more theatres begin adopting similar practices aimed at safeguarding performers’ welfare amidst demanding narratives, it may help catalyse broader conversations surrounding mental wellness across all formats within performing arts—a potential shift leading towards systemic changes regarding how productions are managed effectively while being attuned attentively towards artistic contributors’ emotional needs. Indeed, this industry appears slowly yet resolutely awakening to these pressing concerns; recognising increasingly that nurturing raw talent goes hand-in-hand with caring profoundly about their emotional and psychological well-being during every performance cycle.
