Sherman Theatre Stiwdio – 17/06/25

Elsie Davidson’s Martha is a glamorous, playful and fiercely political production that manages to be both joyful and deeply uncomfortable. Staged in the Sherman Theatre Stiwdio, it throws us into a dystopian 2055 where deafness is pathologised and BSL is criminalised – a chillingly plausible warning of unchecked authoritarianism.

The set and costume design were particularly striking — glamorous, bold, and effective. While the futuristic style occasionally felt a little on-the-nose, overall Carl Davies’ work was impressive. The world-building was visually immersive and immediate. From the moment I entered the space, I was asked for a “secret passcode” — a sign in BSL I would later be taught. A tattoo was stamped on my hand, and an actor enthusiastically welcomed me into the world of Martha. The layout and setting were clearly well thought through. Intimidating? Yes — but also exciting.

Before diving into the dystopian future, Davidson allowed a moment to reflect on a quieter history: an island once home only to deaf people, where everyone used sign language. After this unconventional prologue, the audience was asked directly, “Are you hearing?” — followed by a patronising, “Oh, you poor thing.” A small but loaded exchange that immediately set the tone. Thoughtful, and unsettling in exactly the right way.

The use of clowning, physical theatre and exaggerated, flamboyant characters brought energy and was articulated particularly well by Granville (played by Duffy), whose performance was a standout. At times, though, the tone bordered on being silly. Some scenes – especially the musical or more panto-like ones – veered away from the serious subject matter, which could be jarring. Still, these playful elements made the heavier themes feel more accessible for a wide audience. They also injected a sense of humanity into a world where that very humanity is being stripped away.

There was a notable split between naturalistic scenes and surreal, exaggerated ones. This contrast wasn’t always smooth. I often found myself struggling to stay engaged – the lack of live sound and reliance on subtitles meant I was constantly shifting focus, scanning for words instead of watching performances. This disconnect felt particularly frustrating in emotionally charged moments – looking at subtitles instead of faces, reading instead of feeling. It’s something hearing audiences aren’t used to – but maybe that discomfort is exactly what the production wanted us to sit with.

Davidson’s integration of BSL throughout the show was powerful – not as an add-on but woven into the form itself. In that sense, Martha wasn’t just inclusive – it challenged what inclusivity in theatre looks like. A show not about deafness, but made for deaf people, by people who care about that representation. The message landed clearly: difference is not illness, and the fight for rights is far from over.

However, while the themes – medical control, state propaganda, forced erasure – were undeniably timely and important, I felt the production didn’t always trust them to carry weight. Torture scenes, disappearances and threats were sometimes overshadowed by a tone that felt too “soft”. The cutesy, cabaret-like atmosphere occasionally took away from the emotional punch those ideas deserved.

The ending, though, was the strongest moment. A rousing, urgent call to action: “I’m still here!” A final plea for resistance, for visibility, for community.

Martha isn’t perfect – and maybe it shouldn’t be. It’s messy, experimental, bold, eclectic and emotionally complicated. For all its structural flaws, it sparks conversation. It’s not just a show about the future – it’s a challenge to audiences now.

(4.5 / 5)

On the face of it, Steel is about a 17-year-old boy called James (played by Jordan Tweddle) in West Cumbria, who discovers that he is heir to a small stretch of British rail, and if he can claim it, he will get half a million pounds. Him and his friend Kamran (played by Suraj Shah) are thrust into a treasure hunt around town, talking to various family members to find the contract in time. There is a lot more to the show than just this though. There is a lot more to unpack.

My pre-conceived notions about this play were a little off the mark, because when I saw the offer to review this show and the location as Port Talbot, with the timing of Port Talbot’s Tata Steel factory closing down, I thought it was about two late teenagers growing up there and the impact of the factory restructuring on the industrial town and its people. I brought my dad (who worked in Tata Steel in Trostre) to see the show with me on the basis of this. I wasn’t all wrong: it was about a steel town and its people, but the location and surface-level story were different.

The New Plaza (the show’s venue) is a community building, not a big theatre venue, and hosts a wide range of activities like films, gym classes, arts and craft events, and more. Walking into a small community hall room, with two small rows of audience on either side of the stage and minimal set, I immediately got the impression of an intimate performance. The floor was cartoon-like black and white drawings of a factory with chimneys and smoke, a town hall, a tearoom, and steel train tracks. A bench decorated in the same cartoon pattern sat above where the tracks crossed over, and there was a small stage and microphone on the other end of the space, and a structure made of steel behind it, which displayed the time like a digital alarm clock throughout the show. This experimental and budget-looking set contrasted with expensive and professional lighting, and computers and tech boards, who manned the speakers and lights. This wasn’t meant to be a big-scale production, and the locations on their tour were village halls and the like, so the set and atmosphere even pre-show definitely reflected this.

The show opens with James standing in front of the microphone, telling us how it started. The writing of the show makes it clear that they know they are describing and showing us an event, it’s aware of itself as a piece of theatre, Brechtian style, and it suits all aspects of the production, including the set, delivery of the lines, and physicality of the actors.

The lighting and sound throughout this production was so atmospheric and aided the acting in conveying the story and subtext. An example of that was at the start when they played the sound of an angry and impatient crowd with red lighting until James steps onto the microphone, when it changes to a cool temperature and the sound becomes more subdued. It also had beats which got faster at more serious parts of the script, until it got to its highest point before breaking off.

The acting was excellent. With only two actors, quite a fast-paced script, and lots of movement, they had to be completely present in the space and aware of the dynamic between each other, and you could tell they were completely in the performance. I thought it would follow each character equally, but it was mostly about James and his relationship to Kamran, not Kamran as a whole. I was initially a little disappointed with that, but Shah was tasked with taking on the vocal and physical mannerisms of many other characters in the retelling of the story to the audience, and because of his incredible talent in that respect, it made up for it. The only aspect I found challenging was understanding their lines at times, which I think was a mixture of the Cumbrian accent, not hearing them when they directed their lines to the audience on the other side of the stage, and the fast-paced nature of the piece. Because of the space, the sound doesn’t reverberate back, so at times, audiences on both sides are going to miss the odd line. Because of this, it was difficult at times to follow exactly what was happening, which isn’t ideal, but you can follow the gist of the story anyway.

The writing of the script was also fabulous, with an almost poetry-like rhythm to it, and other aspects of the piece complimented it. It handled serious topics well, but had moments of comedy to break it up, with many jokes and sarcastic comments that fit British humour as a whole, so any audience it goes to can understand it.

The ending mirrored the start and reflected the themes of the story, whilst also letting it apply to the wider world. There was significant character development, and James talked about finding someone who lights you up and about the fact that it’s not about the steel itself that makes the steel town, but the people. The play isn’t really about the end, but the journey James goes on.

I think every aspect of this production complemented each other really well, and it was a very high-quality show. The setting, lighting, sound, writing, actors, and the story had huge depth, with a story on the surface but a wider and deeper theme in the journey, the process of getting to the end. I would urge anyone who enjoys intimate performances, where the show encourages you to reflect on your own beliefs and views on humanity and the world around you, to see this show. If you can’t catch this show on its last stop in London, I’m sure it will be commissioned for another tour, so you’ll just have to catch it then!

Based on the 2015 book that debuted in the number one spot on the New York Times Fiction Best Sellers list and the 2016 film starring Emily Blunt, a lot of the audience will be no stranger to the psychological thriller, The Girl on the Train. It’s a hard ask of a new play adaptation to maintain that suspense and climax when, let’s face it, a lot of the audience probably already know the ending! The stage version, which debuted in May 2018 at Yorkshire Playhouse, is adapted by Rachel Wagstaff and Duncan Abel and is a feat to fit this 320 page turner into a just 2 hour play without losing any of the grit or drama and without leaving the audience totally in the dark. I’m pleased to report that this adaptation ably pays homage to its source material whilst also being its own, worthy, entity.

The stage is very bare, but reminiscent of Rachel’s mind itself; the blank spaces representative of the blackouts and gaps in our lead character’s own memory. The starkness of the stage aided rather than detracted from the action; with no massive set pieces to distract, the action entirely centres on the cast and ensemble’s actions and speech and you find yourself on the edge of your seat to catch every word. I also loved the projection screens at the back of the stage, cleverly adapted and used to create Rachel’s train journeys, the rain pouring down the windows of the flat, Megan’s artwork and more. The use of lighting was also effective, with train tracks appearing down the rake of the stage and characters disappearing and reappearing into floods of light. It reminded me again of our unreliable narrator, struggling to see clearly through the haze of her memory.

Director, Loveday Ingram, ably brings the piece to life and I especially loved the scenes with flashbacks where missing woman, Megan Hipwell, reappears and helps us to piece together what she was like. I enjoyed the forays into the past as Rachel watches on, living through the parts of Megan’s life that may have, until now, remained hidden. It helped the audience to really see Megan as a living, breathing person, not just a statistic and the direction of these segways really helped; Rachel shrinking back to the shadows as the main action shifted backwards. I also loved the use of ensemble throughout the piece; the train coming to life with commuters or party goers without so much as a set change, all kudos to the direction and movement of the play.

Louisa Lytton, leads an excellent cast, having taken over the role from Giovanna Fletcher on 15^th April. Probably best known for her time in Eastenders, she’s also no stranger to psychological thrillers onstage, having recently played Jenny in 2:22 A Ghost Story on its nationwide tour. Louisa brings Rachel to life with ease, the unreliable narrator of the piece, the girl who has created a whole life for the woman she sees on her train journey every day. She never descends to pastiche, creating a real, 3D Rachel Watson who is undeniably flawed but whom the audience still roots for. Her ability to really draw the audience into Rachel’s plight to help find Megan’s killer is really enthralling to watch and her journey is one I became thoroughly invested in throughout the 2-hour run time.

Natalie Dunne as Megan Hipwell brings real depth to Megan Hipwell, the missing woman made flesh through her performances in the flashbacks. Her anguish and fears are palpable, particularly in her scenes with psychologist Kamal Abdic. Zena Carswell plays Anna Watson, the woman who has usurped Rachel’s marriage. I enjoyed the way Zena so ably showed us Anna’s descent, so eerily like, so we find out, the way Rachel has fallen.

Daniel Burke as psychologist, Kamal has a wonderful resonance of voice which gives the character a real gravitas. His scenes with Zena’s Megan Hipwell are particularly poignant, as the character struggles with the line blurring between professional and lover. Samuel Collings shows us the grief and anger of Scott Hipwell as he navigates first the missing and then the murder of his wife. Some great light and shader here with Samuel cleverly flipping between misery and aggression. Jason Merrells also deftly shows us every side of Tom Watson, adoring husband, concerned ex-partner and more as the plot develops. A very convincing performance. Finally, I thoroughly enjoyed D.I. Gaskell, brought to the stage by Paul McEwan. A believable detective, with moments of lightness and humour delivered with skill to break the tension inevitably created by a piece such as this. All in all, a talented and able cast and ensemble who were a delight to watch.

Whether you’ve read the novel, seen the film, or go in completely blind, this production of The Girl in the Room will keep you guessing, gasping and on the literal edge of your seat. I went in without any knowledge of the plot and the reveal was delivered with a poise that kept me wondering right up until the end. The plot is drip fed to the audience and leaves us breathless with anticipation. If you’re a fan or totally new to the story, the ‘thriller that gripped the world’ will go on thrilling, and gripping, every audience member that dares to embark on Rachel Watson’s journey.

(4.5 / 5)

Christmas 2018, Banksy gives a unique present to the town of Port Talbot; Seasons Greetings, an artwork painted onto the garage belonging to local, Ian Lewis. The image, poignant in its positioning, location and ability to stir up the emotions of the inhabitants of the town, literally takes centre stage in this new production from Theatr3. In the weeks following the gifting of the artwork, Theatr3 spoke to the people of the town about their thoughts and feelings on the piece and the wider implications of it being in the industrial landscape of Port Talbot.

Writer and Director, Paul Jenkins and writer, Tracy Harris, have taken over 150 hours of audio and created a piece which is truly reflective of the voices of the people of Port Talbot, because it is literally their voices and their words which have been fully integrated into the piece. The play feels like a conversation with the people of Port Talbot; the audience are truly involved in the piece because of the brilliance of the delivery and the truthfulness of the lines. I have not seen a play before which captures the Welsh voice so well; the naturalism of the speech, including the pauses, the ‘umms,’ lines punctuated by the inhalation of a cigarette with no concern to the listener, it’s all so true and reflective of the community it is representing, without being condescending or belittling.

Design, sound and video blend seamlessly here to create an audio and visual landscape of the steel town (Design by Cai Dyfan, Video by Andy Pike and Ethan Lloyd of Apel Studios, sound by Georgina Nobbs and additional composition by Dai Griffiths). I loved the ever present ‘towers’ complete with lights, changing colours and twinkling throughout, creating the industrial beauty of Port Talbot. The main visual of the ‘garage’ in the centre is used to great effect, first bearing the image of the ‘Port Talbot Banksy,’ but changing throughout to the local greasy spoon, the Marie Curie charity shop and even at one point bearing the mantra, ‘Cofiwch Dryweyn.’ Simple but effective was the ‘removal’ of the artpiece, the image slowly rising upwards as smoke billowed, sounds echoed around the theatre and Time To Say Goodbye resonated, as the residents stood silently by and watched their Banksy being taken away. 

With inspiration drawn from Brecht, the actors change roles in the blink of an eye. Two rails of costumes and props line stage right and stage left, and they leave stage as one character only to, almost immediately, appear as another. The physicality of every performer is brilliant, never leaving you in any doubt as to the transition to another role. Clearly hours of work have been put in here to faithfully recreate the voices of the people of Port Talbot, it is eerily accurate, even stammers and incorrectly chosen words are copied and presented here, with my personal favourite being ‘muriel’ instead of ‘mural. The cast are, without exception, phenomenal. Matthew Bulgo, Holly Carpenter, Ioan Hefin, Simon Nehan, Jalisa Phoenix-Roberts and Kerry Joy Stewart multi role throughout the play; ever changing accents, voices, physicality, social backgrounds and life experiences.

There is much comedy to the piece, moments where the audience are rolling with laughter, rapidly juxtaposed with being brought close to tears. Port Talbot Gotta Banksy pulls you through a whirlwind of emotions as ever changing and flighty as the emotions of the town itself. The human experience of the show is starkly set against the experiences and shared history of the whole town. Act One deals with the artwork, yes, but Act Two dives deeper into the wider issues enveloping Port Talbot; the precarious balance of wanting the furnaces to stay for employment contradicted by the lived experiences of the residents; the soot lining their windowsills, the clothes on the line turning orange, the 33 year old dying of asthma and COPD. As an audience member, you feel torn between the steel worker, who’s worked at the furnaces for his whole life, who cries ‘in front of his butties’ and the council worker who urges us that we should be looking to the future. The uncertainty for the future, the fear of change, a town scared that it’s being left unnoticed and uncared for, is palpable, it grips you and doesn’t let go.

With the recent support from the Government for Scunthorpe Steel, the timing of this production could not be better. The loss of so many jobs in Port Talbot whilst Labour steps in to help with potential nationalisation across the border must truly be a bitter pill to swallow for the residents of the Welsh town. The play that starts with an artwork but that goes so much further is one that you really need to see if you possibly can. It gives all sides and perspectives room to breathe and opens the debate further; allows an audience to see perspectives they may never have considered previously. Finally, the voices of the people recorded are truly heard; the actors remove their earpieces and the words they’ve replicated in the performance are spoken by the residents; the original recordings echo around the space and the voices of Port Talbot are given the ‘last word’ of the play.  

In the words of Derek Davies, whose poem features in the final scenes of the piece.   

‘Now the town has suffered dearly,

In that town that’s made from steel;

But you cannot take away their lives,

 it’s how the people feel.’

(4 / 5)

‘Little Women’ is loved across the world in its various iterations; from its original publication in 1868, it has been widely adored, with critical and commercial success. Based loosely on author Louisa May Alcott’s own life, we follow the lives of four sisters; young women forging their path from childhood to adulthood. Loud and rambunctious Jo, ladylike Meg, quiet yet ‘good’ Beth and the youngest, Amy, used to getting her own way. The play begins just after their Pa has left to serve as a Chaplain for the Union in the American Civil War, and each girl is dealing with it in her own unique way.

This version has been adapted by Anne-Marie Casey, screenwriter initially who has now turned her attention to stage adaptations, having also adapted Wuthering Heights for stage in 2014. I loved the pace and the humour of this script; it loses none of the original whilst breathing life into the plot and giving these characters a chance to come alive on stage. It is genuinely witty and funny and full of heart, a fact we can, obviously, primarily credit to the original novel, but also shines here on stage which is a credit to Casey. The piece has direction and movement direction from Loveday Ingram and Mike Ashcroft respectively, and I loved the innovative use of the space. The set changes very slightly throughout, but with the direction we always feel like we are in a new space, whether that’s skating across an ice-covered pond, dancing on a balcony at a ball or stealing that first kiss in the snow.

Lighting and design, by Ruari Murchison and Mike Robertson, complements the actors well. I loved the world of ‘Little Women.’ The set is a living room amongst the trees, so to speak, but we are never in any doubt as to where we are. The trees and stool double as the window that Laurie is constantly clambering through, the flats at the back of the stage mean we can see each girl in tableau as time passes and they go from girl to woman. Sometimes simplicity is best, and I loved the idea of nature permeating the house in which the girls lived. Jo’s writing desk being ever present is also a nice touch as if, it’s the desk itself, that is charting the lives of these women. Lighting is also simple but effective; especially stark during Amy’s fall through the ice. I loved the addition of contemporary hymns and Christmas songs to add colour to the piece and to the lives of Marmee and her girls. Matthew Bugg, Composer and Sound Designer, adds his own touch to the piece; the arrangements are beautiful and sang so well by the ensemble.

This is a very well-cast company. Led by Grace Molony as Jo, who perfectly balances Jo’s tomboyish tendencies with her uncompromising love for her family, her passion for life, writing and independence, and her softer, more loving side towards the end of the show. She is excellent, a perfect Jo and she achieves plenty of laughter in our matinee audience. Jade Kennedy as Meg is wonderful; the will she, won’t she romance she shares with Jack Ashton as John Brooke is very endearing. There is, again, a lovely balance of humour but also the more serious, mothering side of Meg. They are joined by Catherine Chalk as Beth; her nervous energy around strangers is truly palpable throughout act one, and her tragic ending is expertly handled by Chalk. The final ‘little woman’ is indeed the littlest; Imogen Elliot as Amy brings a childlike innocence and petulance in act one, which blossoms very effectively into a society woman in act two.

They are accompanied by Belinda Lang who is excellent as Aunt March. Her accent is perfect, and her deadpan lines are delivered with expertise. She is delightfully blunt and rude, a fantastic addition to the cast. Ellie Pawsey understudied as Marmee in this performance and her motherly light really shone in the role. Her strength in holding together her family was really evident yet she was able to balance this with the emotion of hearing about her injured husband and the pain of losing a daughter. Outnumbered, but no less talented are the men of the piece. Cillian Lenaghan as Laurie bounds across the stage, the perfect opposite to Meg, seemingly more grown up and mature than them all in act one and then discovering his petulance in act two. Cillian counterbalances Monoly’s Jo with ease and they have a lovely chemistry. Finally, Jack Ashton who spends act one as Meg’s love interest, John Brooke and act two as Jo’s love interest, Frederick Bhaer. Ashton delivers these two distinct characters with ease. It is easy to put aside our dramatic disbelief and invest in him as both characters. I really enjoyed his Frederick especially, with a great accent and a softness and hesitation to his admission of feelings for Jo. This is a faithful adaptation, which keeps close to the original but also has its own voice and identity. Its true success is in its accessibility; I have never read the book (but will do so now!) and was sat alongside two sisters who have seen every iteration on film and were read the novel every night by their mother as children. I love how we came in with very different expectations and knowledges of the story but all left having absolutely loved this version. The show is lovely; touching, poignant at times, full of heart and humour; perfectly chronicling the lives of these little girls into ‘Little Women

Photo credit: Patricio Cassinoni

(4 / 5)

Samuel Beckett might just be my favourite playwright. Why? It’s his abstractions, the eerie usage of prose for a higher truth. His plays in French and German then translated into English, capturing profound depths that wouldn’t be seen if it was just in English first.

First seen in 1958 with actor Patrick Magee, Krapp’s Last Tape have seen much success and is often regarded as one of Beckett’s finer works. This isn’t my personal favourite, though thanks to a tight production it holds up as enlightening. The play is even going with Gary Oldman in York , so there are plenty of chances to see this odd tale.

Per annum, Krapp on his birthday records another tape. A post-mortem of the year he’s had. He listens to recordings from decades past and loses himself in then, only to dismiss them as ancient histories. Aged 69, he leaves his last tape, after eating a few bananas, popping out to the kitchen in a hurried scuttle to what sounds like the pouring of wine (quite possibly urination) a few times and constantly critiques the man he was, against the man he is now.

Stephen Rea is a true Beckett actor. He had the foresight to pre-recorded the relevant material a decade ago, just in case he ever did play Krapp. Luck would be on his side thanks to laser focused director Vicky Featherstone. Set designer Jamie Vartan has the most simplistic plan, yet all you really need is a sliding door, chair, table with extended draw and that’s your lot. Katie Davenport got the tattyness of old age and white boots that might just not match the outfit. Lighting by Paul Keogan is scary and alluring in all ways. Kevin Gleeson’s, sound design keeps the suggestion of a drone in utter pianissimo throughout, near Lynchian. Stephen Wright as audio director assisted Rea with the old recordings and did a valiant job. You can tell Rea is younger, though not by a huge amount. Imagine the 30 years old tapes…

There is much to unpack about archivism, longing, resentment, ageing, loneliness, sex and lust in this mere 55 minutes. Other artists have taken the tapes ideas and ran with it, musicians especially with opera and looping material are really nice ideas. It has made me wonder about how do we preserve items in needs of tender love and care, with the passage of time decaying most materials. Through it all…was this the purpose of recording something?

Its runs till 3rd May 2025