Historical exposition and a great squirrel prop make for a mismatched buddy comedy set in the Revolutionary war
The American Revolutionary War doesn’t quite hit the British psyche like it does the American’s. It’s more of a footnote before the Victorian age of industry, empire and Dickensian poverty. Probably because we lost. Nevertheless, writer-director Elise Marra has taken a stab at this period of history and condensed it into an idiosyncratic 60 minute two-hander.
British Army commander John Smith (played by Emma Wilkinson Wright) finds himself alone with American soldier John Thomas (played by Mikkie-Dené Le Roux) on a cold winter’s day in upstate New York. Both of them seemingly in an awkward spot of military bother. It turns out they are both deserters and due to face punishment should they be caught. Thomas’ reason is accidental, having wandered off to urinate and missed his troop’s entry into battle; Smith’s appears more deliberate, having been thrust into the theatre of war out of obstinate duty rather than any sense of impassioned willing.
Smith takes Thomas as his prisoner of war, ensuring compliance by providing the food- thawed squirrel- and providing a political foible for Thomas to rally against. Both men appear lost in their lives, and see the war as a means to an unknown end. Both determined to argue their case for colonization or independence, both rather stereotypically portraying their characters in doing so. Thomas is portrayed as the optimistic, unflappable American go-getter. Nothing is going to stop him from getting independence, a wife and some land once America wins the war. Smith is of course pedantically rigid in temperament, hates to laugh and believes loyalty to the crown will see him through any amount of personal sacrifice.
Over the course of several days of back and forth gauche interactions and assertions, eventually the war ends and Smith is presented with the opportunity to ignore retuning to England and start a new life in America, which he chooses at the play’s conclusion. And they all lived happily ever after.
The play is performed brilliantly by its two actresses though they are let down by an unpolished script that feels it has nowhere to go. We are not really sure why Smith is a coward despite declaring himself high ranking officer. There are many unanswered questions and convenient diatribes to compare the coloniser and colonised throughout. The result is that both characters are reduced to an oversimplification of the staid history whilst simultaneously trying to find the humour in the absurdity of these two unlikely people forming a rather quick friendship.
Whilst it is not clear if the use of women to portray men is meant to signify anything in particular, both Wilkinson Wright and Le Roux bring a sense of humility, pathos and likeability to otherwise simply written men. The comedy has potential, though relies heavily on Thomas being irritatingly relaxed against the anxious stiff upper lip of Smith. Anachronisms and inaccuracies aside, this script has potential with strong performances and in interesting topic for a two-hander. With sharper humour and more focus on the backstory and motivation of our characters, it could be a punchy little comedy about unlikely friends. Currently it’s a mismatched political treatise with a great frozen squirrel prop- lean into the absurdity of the friendship and worry less about historical thesis, and this should be a witty little smash hit of a play.
Sweet Victory was performed on 27th and 28th September 2026 at the Etcetera Theatre, London.