A gripping and thought-provoking revival that challenges our obsession with true crime while delivering a standout performance from Joshua Collins
Lee Blessing’s Down the Road is a play that questions our societal obsession with true crime. This modern revival, from American Theatre of London, under Tracy Mathewson’s direction, forces us to confront our own complicity in consuming tales of violence. With a minimalist set and a trio of committed performances, the production delivers a gripping if somewhat uneven exploration of morality and media ethics.
At the heart of the story, crime journalists Dan (Aaron Vodovoz) and Iris Henniman (Annelise Bianchini) are tasked with interviewing serial killer Bill Reach (Joshua Collins) for a tell-all book. As they delve deeper into his psyche, the lines between objective reporting and morbid fascination blur, raising uncomfortable questions about our cultural appetite for stories of brutality. While the play was originally written in the early ‘90s, Mathewson cleverly updates it for an era in which true crime has become ordinary, even commodified.
The production had a slightly shaky start, with Vodovoz and Bianchini initially struggling to fully inhabit their roles. Some early monologues felt tentative, particularly from Vodovoz, whose character arc—from a reluctant participant to someone seemingly enthralled by the case—never fully convinced. His transformation felt somewhat forced, as if driven more by the play’s need for a narrative shift than by organic character development. Bianchini, however, grew more compelling as the play progressed, offering a nuanced portrayal of a journalist torn between ambition and morality.
Collins, as Bill Reach, was the undeniable highlight of the evening. His command over the audience was absolute—breaking the fourth wall with chilling ease, effortlessly silencing any restless shuffling in the audience. His ability to switch from charming to menacing in an instant kept the tension high, making him the most fully realised character in the production. If anything, his presence was so dominant that it occasionally made the dynamic between Dan and Iris feel secondary.
The simple set made effective use of Playhouse East’s intimate, almost school-hall-like atmosphere. However, the frequent blackouts between motel room and prison table scenes felt slightly clunky, occasionally disrupting the momentum. A more fluid transition between these spaces might have sustained the play’s immersive quality more effectively. Despite this, Katren Wood’s set and costume design was understated yet fitting, while Sam Rothera’s sound design and James Oldham’s lighting worked well to maintain an unsettling mood throughout.
Beyond the performances and staging, Down the Road succeeds in provoking discussion. It forces us to consider why we consume true crime so voraciously—do we do it to understand the perpetrators, or are we simply indulging in the spectacle? Are we, as an audience, complicit in giving murderers the notoriety they crave? It’s a rare production that leaves its viewers questioning their own habits long after the curtain falls.
While the execution had some inconsistencies, likely first week jitters, this revival remains an engaging and thought-provoking take on an increasingly relevant topic. A compelling psychological thriller that lingers in the mind, Down the Road is well worth the watch—just be prepared to leave with more questions than answers (in a good way).
Down the Road runs until March 29th.