Up-and-coming local theatre company Locked In Thought is proud to announce its spring production of Neil LaBute’s Tony-nominated play, Reasons To Be Pretty. The production will run for a limited four-night engagement from 1st – 4th April 2026 at the Assembly Roxy (Upstairs). A Youngish Perspective holds this exclusive dialogue with James.
1. What was your initial response when you read Reasons To Be Pretty for the first time?
Honestly, it was a whirlwind of emotions. First of all, how the hell are we going to do pull this off? But we really did all love it, and knew we had to put it on immediately after we read it. So we decided to take on the challenge! It represents all of our company values and the type of theatre we want to share with audiences. It’s quite a shocking play but also extremely funny and in a weird way beautiful too. There hasn’t been a play quite like it, which really drew us to it. Each character is so unique in their own way and very nuanced. The pace of the play is also brilliant and it really packs a lot in. It was the perfect play to choose for our company as we’re all about creating thought provoking and exciting theatre.
2. This piece feels particularly relevant in a culture shaped by social media and image. How do you see its themes resonating with audiences today?
A lot of people today, especially young people, are glued to their smartphones and have an obsessive need to get validation from other people. They have this obsession with their image and how their image, whether that be online or in person, appears to other people. By doing this play, we hope it gives people a new perspective on the dangers of being obsessed with how you look in life and how it can be detrimental to a relationship. If you determine your self worth purely on how you look, it can have a damaging effect on you and the people around you. The play delves into this topic quite deeply, the themes discussed are certainly not black and white, which is why we want the people leaving the theatre asking questions and discussing intently about what they’ve just seen.
3. The play revolves around two couples whose dynamics begin to fracture. How important has rehearsal been in building authentic chemistry within the ensemble?
Absolutely vital, the play is quite intimate and we needed the character relationships to feel authentic and meaningful. We wanted everyone to be comfortable with each other so nothing felt forced. It helps a lot that a few of us knew each other from past shows and drama school training, but it was still important to get the whole cast to have great chemistry. We did lots of fun games and warm ups so people felt comfortable with each other. Being silly with the cast is actually really important as it relaxes everyone plus we all bond. We actually even met up a few times outside rehearsal just to do fun stuff (like MarioKart), and that really helped to bring a new energy and dynamic to the rehearsals as we all started to become really good friends. From where we were at the start to where we are now, everyone is a lot more close. And of course it’s due to constantly rehearsing the text, but also having a good laugh and remembering to being a bit silly now and again.
4. Greg is at the centre of the storm created by his comment. How did you approach understanding his perspective without simplifying or judging him?
This was really important for us, cause we didn’t want to make everyone hate him. We had lots of cast discussions, talking about his motivations and why he said what he said. We combed through the text, which gives a strong indication of his way of thinking. And we came to the conclusion that Steph and Greg are both very different
people. To Greg, he feels he doesn’t need to say to Steph that she is beautiful she just is. To Steph, she doesn’t understand why he can’t just call her beautiful. So they end up locking horns because they both are on different pages about self worth and beauty in a relationship, despite their deep love for one another, which is what make it all the more heartbreaking. Greg doesn’t think he’s done anything wrong, he’s genuinely confused because that is how he is. That’s how we approached him to make him feel human, an average guy who just doesn’t understand..
5. The Upstairs space at the Assembly Roxy offers a very intimate setting. How does performing in such close proximity to the audience shape your performance?
It shapes it a lot actually, especially with entrances and exits. There are many moments where characters enter from the audience and are actually sitting in the auditorium to help the audience feel like they are part of the world. We wanted it to feel like the audience is almost living in the story, because most of the play is just dialogue so having that intimate setting helps a lot to get the full rollercoaster of emotions. And quite a rollercoaster it is! It was important we had an smaller venue, as with a bigger theatre the subtle yet important reactions and expressions (which are so important in this play) would get lost. There is so much going on, so having the Assembly Roxy is perfect as the audience can really watch and feel everything that is happening. We wanted the audience to feel really involved in the show.
6. As an up-and-coming company, Locked In Thought is taking on a Tony- nominated play. What does it mean to be part of this production at this stage in your career?
For me, it’s massive. It’s the second show we’ve put on with this company and it’s a much bigger feat than Fringe. It’s a lot more complex character wise but also the story itself and how it is told is a challenge to perform. There is so much dialogue between the characters. I’ve never experienced anything quit like it before. Lots of interruptions, fast paced yet also quite naturalistic. It’s strange, I can’t quite explain it. But I love it, I love the madness of it all. It blends realism and heightened theatre very well. Playing the part of Greg, who has so many layers, and with such a beautiful character arc, it’s very exciting for my career.
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