Aretha is 37. Black. Disabled. Just Aretha sees her introducing herself and telling us a little about herself before she confronts us with all the stereotypes some people might associate with a Black woman. She tells us about the circumstances that caused her disability. Erb’s Palsy is caused by a bunching of the nerves around the spine that, in her case, have left her with a right arm in which she has no sensation.

Victoria Evaristo’s script allows plenty of space for the audience to consider the ramifications themselves. Her considered direction intersperses the words with photos and filmed footage of some of the tricky things that largely let us join the dots: transport and toilets, for example. The script also shines a gentle light on the many indignities that go with not just being able to jump in the bath, for example.

First and foremost, this is a show about identity. Aretha Nortey grew up in London, but her Ghanian heritage had just as much of an influence on who she’s become. She explores the effect her disability had on her family, her experience of growing up with extensive aunties and uncles, all of whom had an opinion about her, her hopes of finding a relationship and her ongoing determination to lead an ‘ordinary’ life.

Aretha is not seeking our pity. She invites us to reflect on what life is like for the myriad of people who find their way through life with a physical (or psychological or neurological) impairment. But her joyous delight in the life that she has turns this show into something more akin to a celebration. Aretha is so much more than the sum of her labels, she reminds us, but for all that, she’s still Just Aretha.