When Bonnie wakes up from a hangover, she can’t remember anything from the night before, and her two friends Rachel and Gen appear to be keeping something from her. What Bonnie discovers will threaten not only her friendship with the other two girls, but also her freedom.

The revelation of the play’s true nature is unfolded gradually, with Bonnie’s continual questioning about what happened being frantically deflected by her friends until her discovery of bloodstained sheets reveal the ugly truth. What then ensues is a nightmarishly effective dramatisation of a future where women have even less agency over their bodies and the act of getting an abortion makes them automatic criminals.

The strength of the dialogue allows for a natural transition between the more naturalistic dialogue of the opening to more frenzied debates that reflect the marginalised position the three women now find themselves in without the two feeling completely separate.

In addition, the skilful use of coloured lighting to represent Bonnie’s fracturing mental state is inspired, adding a stylistic element that illustrates and enhances rather than overshadows the emotional and political themes.

However, the performances are what really bring the material to life, with Catriona Tashjian impressing in her depiction of Rachel’s seemingly-maternal nature towards Bonnie and Margot Pue adeptly revealing Gen’s vulnerability as her hospital job becomes increasingly central to the narrative.

Despite the strength of these supporting performances, it’s Nell Lang who stands out as Bonnie. She not only captures the character’s vulnerability and loss of control but also her spirited energy and defiance, making her more of a three-dimensional character and less of a cipher in the debates surrounding abortion.

Covenant is an important play about abortion, but more than its central issue, it’s the strength of the writing and ensemble performances that elevate its quality.

Covenant has finished its run