Victoria Yeates in Wormholes, Omnibus Theatre. Photo: R Greig

There's a bitter irony when the Woman (Victoria Yeates) talks about the world being a better place in the opening scene of Wormholes at the Omnibus Theatre. She lists the almost complete eradication of the Guinea Worm as part of the evidence.

But the irony only becomes truly apparent as her story unfolds. The Guinea Worm, which lives and slowly grows inside its human host for a long time before it painfully emerges, is a metaphor for the coercive relationship she ends up in.

We first see the Woman in a psychiatric hospital, talking about her fellow patients and recounting her story from the fun first date and the slow, insidious infiltration of control over every aspect of her life.

In the introduction to the play text, writer Emily Jupp says it was important that the Woman represented an 'everywoman' to demonstrate that these experiences aren't restricted to a type.

The Woman in the play has a strong group of friends, is bubbly, enjoys life, has a good job and, unlike some of her friends, is not particularly looking for a relationship.

Covered in a blue rubbery material, the stage has an institutional feel. There is nothing else, it is just Victoria Yates and the space. She also plays 'Him', the Woman's mother and her best friend Jess.

While you see everything from the Woman's perspective, the presence of both mother and friend demonstrates how the outward appearance of a relationship can be so deceptive. It raises important questions: Would you spot the signs if it happened to your friend? What would you do if you did? What could you do?