Whilst the show tackles heavy subject matters and themes, it also finds moments of humour and warmth
In Good Conscience is the latest production from Red Light Theatre. Co-created by Barbara Diesel and Oli Wyatt, who also perform as Phoebe and Elliot, the play explores protest, civil liberties and the emotional toll that comes with standing up for what you believe in. Whilst the show tackles heavy subject matters and themes, it also finds moments of humour and warmth that stop the production from feeling overwhelmingly bleak.
The play centres around Phoebe, an extremely passionate protester who leads the In Good Conscience protest group, and Elliot, a Legal Observer supporting demonstrators as they navigate increasing legal pressures for both sides of the political coin. Their first meeting on-stage is marked by disagreement, with both approaching activism from very different perspectives.
As the play unfolds, however, their shared values become impossible to ignore, allowing their relationship to develop naturally alongside the wider conversations about justice, responsibility and the cost of speaking out for protestors.
For a two-person production, there is a great deal packed into the show. The opening moments can feel slightly confusing as the audience finds their footing and gets to grips with the characters, alongside all of their backstories. Once those foundations are in place, the writing settles into a confident rhythm, balancing personal relationships with broader political discussion well.
Barbara Diesel delivers a compelling performance as Phoebe. She captures the frustration that fuels the character’s activism without reducing her to anger alone, as we see a more vulnerable side to her character as the play progresses. You can tell that Phoebe’s determination comes from a genuine sense of compassion, and as the play progresses there is a noticeable shift in her outlook that feels earned rather than forced. Watching her shift from anger to a feeling of ‘numbness’ at the end of the show gives her character real depth.
Alongside her, Oli Wyatt brings a calm and thoughtful presence as Elliot. His quiet confidence provides an effective contrast to Phoebe’s intensity, and the chemistry between the pair develops convincingly as they begin to learn more about each another. Elliot’s own journey proves just as engaging, with his commitment to supporting Action Now growing stronger as he witnesses the legal challenges faced by peaceful protesters. Rather than becoming more cautious, his passion only increases, creating an interesting reversal of expectations when placed alongside Phoebe’s changing perspective.
The interactive protest cards that were handed out at the start of the show were a particularly effective addition. They encourage the audience to engage with the themes in a simple but memorable way, and help to blur the line between observer and participant without disrupting the flow of the performance. It is a small detail, but one that adds another layer to the experience. I did expect a participant to be pulled onto the stage and interrogated when I first saw the card though!
The staging remains simple throughout with effective voiceovers, lighting, and minimal props and furniture, making good use of the intimate space at The King’s Arms. Rather than relying on elaborate scenery, the production allows the performances and script to take centre stage. In a venue like this, that decision works well, creating an atmosphere that feels immediate and personal.
In Good Conscience succeeds because it places people at the heart of an often divisive conversation with so many nuances and differing opinions. By focusing on two individuals with a different approach to the same cause, Barbara Diesel and Oli Wyatt create a production that is both engaging and thought-provoking. It raises important questions and offers genuine emotional connection, all while remaining grounded in two convincing and passionate performances.
This show’s run has now concluded and ran at The King’s Arms, Salford.
Review by Jayne M.