“A powerful, intelligent and thoroughly engaging production that leaves its audience with plenty to think about long after the curtain falls.”
Some plays entertain you for an evening, while others stay with you long after the curtain falls. Lucy Kirkwood’s The Welkin firmly belongs in the latter category. Fennec Fox Productions’ staging at the O’Reilly Theatre was a thought-provoking and emotionally charged piece of theatre, combining sharp humour with some genuinely uncomfortable questions about justice, morality and women’s rights.
Written by Lucy Kirkwood, The Welkin follows twelve women in eighteenth-century England tasked with determining whether Sally Poppy, a young woman sentenced to hang for murder, is pregnant. Their decision could save her life, but as the women debate her fate, the play explores far more than a simple question of innocence or guilt. Kirkwood’s writing is superb, balancing moments of humour with difficult questions about the treatment of women and the power of those entrusted to deliver justice.
The performances were undoubtedly the production’s greatest strength. Rosie Sutton was phenomenal as Elizabeth Luke, bringing a commanding presence and emotional depth to the role. Her performance was particularly powerful towards the end, as Elizabeth grappled with the weight of the decision before her. The emotion was palpable, making it almost impossible not to feel the burden alongside her. Laura Boyd as Emma Jenkins and Jimena Herrero as Charlotte Cary were equally impressive, delivering strong, assured performances that helped anchor the production. While the wider ensemble worked well together, these three consistently stood out, bringing an intensity that elevated the scenes around them.
The staging was simple but effective. With twelve chairs, a fireplace and a handful of props, the set allowed the performances and writing to take centre stage. As much of the action unfolded in one room, there was little need for elaborate scene changes, keeping the momentum alive. Lighting was generally effective, although the opening scene, illuminated almost entirely by candlelight, was perhaps a little too atmospheric. While the intention was understandable, a touch more light would have made the action easier to follow. There were also occasional issues with sound and vocal clarity. Some of the stronger accents, combined with quieter delivery, made sections of dialogue difficult to understand. This was
particularly noticeable during two of Sally Poppy’s speeches, where much of what was said was
unfortunately lost. A slightly mistimed window sound effect was another minor distraction, although these issues did little to undermine the production overall.
Director Joshua Robey deserves considerable credit for maintaining such strong pacing and tension throughout. During Elizabeth’s final decision, audience members could be seen leaning forward in their seats, completely invested in what would happen next. It was as though the entire theatre had become emotional prisoners of the decision, a testament to just how effectively the production had drawn everyone in.
Overall, The Welkin is a powerful, intelligent and thoroughly engaging production that leaves its audience with plenty to think about long after the curtain falls. If you can get to the O’Reilly Theatre before the run finishes, I would highly recommend it.
The Welkin runs at the O’Reilly Theatre, Keble College, from 11–15 November 2026. Tickets here.