New writing – Page 2 – A Young(ish) Perspective

REVIEW: Operation Mincemeat

Published on February 25, 2026February 28, 2026 by justinemsjonesLeave a comment

“A brilliant reminder of why you fell in love with theatre in the first place.”

With 88 (and counting) five star reviews, it is hard to know what other compliments can be given to the incredible musical, Operation Mincement.

Beginning its world tour at The Lowry is a wonderful full circle moment for the show. 15 minutes of the show were shared with a small audience in the Aldridge Studios after the writers took part in The Lowry’s artist development programme. To grow from that intimate showcase to the West End, Broadway and beyond is a testament to the strength of British theatre development. It is only right that the yellow carpet was rolled out to mark this exciting new chapter in the shows story.

Operation Mincemeat is based on the true story of MI5 deceiving the Nazis. At a critical point in WWII, the Germans knew the Allied forces would attack Southern Europe. The Allies favoured an invasion through Sicily – but the obstacle was the 100,000 enemy troops waiting there. MI5 needed a plan bold enough to convince Hitler that Sardinia, not Sicily, was the true target, clearing a path for victory.

The ingenious plan was to plant a corpse on a Spanish beach carrying falsified documents in a briefcase outlining an invasion of Sardinia. The musical captures both the absurdity and the gravity of this mission, balancing belly laughs with a grounded respect for the very real lives behind the story.

It is almost impossible to believe the show is performed by just five cast members. The UK tour cast – Christian Andrews, Seán Carey, Charlotte Hanna-Williams, Holly Sumpton and Jamie-Rose Monk – deliver a masterclass in versatility. Seamlessly transitioning between genders, accents and entirely different characters, often in a matter of seconds, they command the stage with razor-sharp precision and sustained momentum. Watching them shift from broad comedy to poignant sincerity is a marvel and a testament to the calibre of every performer who has stepped into these roles.

“Dear Bill” is, of course, a highlight. Experiencing the incredibly moving performance live from the exceptionally talented Christian Andrews was a joy to witness. The simplicity of a solitary spotlight allows the emotion to breathe, reminding the audience of the human heart at the centre of wartime romance. It is a beautifully judged pause amidst the pace and wit of the show.

One of the elements that makes Operation Mincemeat so remarkable is the sheer complexity of its writing. What is particularly striking is the clarity of storytelling despite the density of information. With around 80 characters brought to life, the clarity and structure of the script are impressively controlled. It is this meticulous craftsmanship that explains both the critical acclaim and the fiercely loyal following the show has amassed.

Ben Stones’ costume and set play a vital part in the success of the staging. The stage is alive with various inventive props and clever set pieces that help move fluidly between characters, timelines and storylines. The hilarious costume pieces that are added to the iconic suits enrich the constant movement.

If you are not convinced by the Oliviers and Tony the production has received, then trust the experience. If you enjoy theatre that makes you laugh out loud, sends you out humming your favourite songs and tugs unexpectedly at real emotion, this musical delivers that and more. If you can score a ticket to the sold-out dates, Operation Mincemeat plays at the Lowry until 28th February and continues on its UK tour. Tickets are available here.

IN CONVERSATION WITH: Haley McGee

Published on February 10, 2026February 10, 2026 by ayoungishperspective1Leave a comment

Inspired by hospices, mystics and trips to the cemetery, Age is a Feeling is a never-the-same-twice show is a gripping story about how our relationship with mortality shapes the way we live. Charting the seminal moments, rites of passage and turning points in an adult life – your life – from the day you turn 25 through to your death, Age is a Feeling celebrates the glorious and melancholy unknowability of human life. We sat down with Haley McGee to discuss her upcoming performance.

Age is a Feeling shifts depending on the age of the performer playing it. Now that you’re revisiting the show at 40, what moments feel sharper, heavier, or more generous than when you first wrote it at 35?
When I wrote it at 35, I talked about seeing photos of your younger self and being astounded by the beauty you possessed even though you ‘had a meltdown in the mirror before leaving the house’. And now, at 40, I look at photos of myself at 35 and think, oh my gosh, I was so young—so fresh! I’m sure this is an experience that just keeps happening throughout one’s life.

But on a deeper note, there’s a story in the show where the protagonist loses a friend who is 39 to cancer. And now having lost Adam Brace, who directed the show, in his early 40s, that section takes on a new meaning, even though the details of his death are different.

The show asks audiences to imagine their life unfolding from 25 to death. What surprised you most about how different audiences respond to that invitation, especially across cultures and age groups?
The biggest surprise is that there hasn’t been much of a difference. I was really struck by this when I premiered the show in Edinburgh, where I could see the entire audience (because the theatre couldn’t achieve a blackout, and I was performing it at noon every day). I had expected the show to resonate most with women in their mid-30s, people like me. And many times, I would look out and see elderly men wiping tears from their eyes.

You describe the piece as a quiet rebellion against cynicism and regret. Was there a moment in your own life when cynicism felt especially tempting, and this show became a way of pushing back against it?
Candidly, I was starting to feel a bit cynical about my work in the theatre before I moved to the UK from Canada when I was 30. I’d formed ideas about how things ‘should’ be going, and that’s a mindset breads cynicism and entitlement.

Moving countries and starting again at 30 turned out to be an antidote to that. Suddenly I couldn’t take anything for granted — not friendships, not the smallest career opportunity. I felt grateful for everything. There’s nothing like placing yourself in an unknown situation to completely reframe feelings of cynicism or that you’re owed something from the world.

And more generally, in moments where I’ve felt despair or stuck, remembering how fragile and fleeting life is has been incredibly focusing. I made my will recently, and that was another stark reminder of how precious life is and how deliberately I want to live it.

Mortality is often treated as something abstract or distant, yet your work brings it into very ordinary, intimate spaces. How did you find a balance between tenderness and honesty without tipping into sentimentality?
Well, first of all, thank you for framing it in that way. I have worked hard in the editing process to tell the moments around mortality as truthfully and clearly as I can, oftentimes focusing on what was said and what was done. I think this helps.

Having seen Age is a Feeling translated and reinterpreted by performers aged 24 to 56, what do you think the show ultimately says about ageing, not as a number, but as a lived emotional state?
That actually, the best is always yet to come. Is that true? Maybe that’s too simple. How about this: That ageing is inevitable, but our relationship with the passing of time has a lot to do with how we feel about getting older. And how we feel about something creates an inner climate… and most of how we feel is determined by our inner climate.

Age is a Feeling plays at Soho Theatre Walthamstow 5-7th March, tickets are available here.

REVIEW: Obscura

Published on February 9, 2026February 9, 2026 by Laura DaviesLeave a comment

“A heartwarming double bill, bursting with intention”

Obscura, a double dance bill by Company Chameleon, is a masterclass in storytelling. Made up of two separate pieces – ‘Umbra’ and ‘Refuse’ – they both feature choreography that is rich with life, original and perceptive in its conveyance of humanity, intimacy and conflict. Made even fiercer by the incredible performance by the cast, it’s difficult to pick my jaw up off the floor where it lays.

Firstly, Obscura by Company Chameleon is marketed as a double bill, however, I must also acknowledge the incredible opening show from Chameleon Youth. The talent of those young people is mighty, and I think it’s a fantastic move to have them open for the company. It’s a great way to foster community, and this was definitely felt amongst the audience. I’d love to see more theatre companies do this too. The choreography was electric and soaring with energy and dedication, a thrill to watch.

Thematically, Umbra explores exclusion and understanding in its many forms. A piece that is tender and understated yet simultaneously searing and alert. There were several gasps when one performer jumped completely over the head of another one, capturing this pyretic energy, yet also a shared sense of awe for gentler moments and stillness. The piece definitely told a story, but also left it open enough that the audience member could identify their own personal meaning with it, which is a beautiful balance, and one difficult to strike. Made even more gratifying when paired with the second piece, which feels more narrative-based, it was fantastic to see two different formats in which Chameleon can tell stories.

The second piece, ‘Refuse’ explores migration, asylum, refuge, displacement and humanity. Inspired by Théodore Géricault’s painting ‘The Raft Of The Medusa’, this performance shares the same emotional weight. I don’t want to give too much away, but what you must know is that it is a thoughtful, empathetic piece that offers up so much conversation for no words spoken, a case study for the power of dance.The moment at the end where the lighting lifts on the audience and the performers stand furthest downstage possible, looking into the eyes of the audiences is chilling and resonant – seeming to ask them ‘What side of history do you stand on?’ Obscura opened at HOME on 6th February and played for one night, it is now touring to The Arts Centre, Edge Hill University on Wednesday 11 February and Pegasus Theatre, Oxford on Friday 6 March, before concluding.

REVIEW: Deadcrush

Published on January 31, 2026January 30, 2026 by jaybinghamLeave a comment

A simple, funny story of an unusual couple

Suitable for 14+

Deadcrush is an unconventional romantic comedy by James Robertson (they/them). It follows a sweet, bubbly woman named Bron, who has fallen in love with David, a dead man. Carrying an ash-filled urn with her, Bron navigates the objections of David’s resentful sister, Annabel, and the confusion of French government officials in order to live contentedly with her soulmate.

Although Robertson’s script and direction are scattershot, they still deliver an original, humorous story. In the Deadcrush programme, Robertson states that they were “interested in the multi-layered forms that love can take,” such as becoming obsessed with people we do not know. Deadcrush, however, turns out to be a single-track story, as Bron only feels an idealised love rather than any complex emotions. Robertson does touch upon the complexities of David’s character, revealing him to be a drug addict, which adds some substance to an otherwise simple story.

Maria-Vittoria Petroni delivers an earnest performance as Bron. While she sometimes lacks tonal variation, she more than makes up for it with her facial expressions. A widening of her eyes or a curling of her lips can elicit many laughs from the audience. Petroni fills this bizarre story with a great deal of heart; Bron’s optimism and love for David are clear in her eyes, making her a delight to watch.

Sammie Court and Jay Lafayette Valentine (they/them) bring fantastic supporting performances. Court, playing Annabel, effectively conveys Deadcrush’s serious side. During her monologue about David’s death, the hostility and despair in her voice are palpable, tugging at the heart. In contrast, Valentine’s performance is comedic perfection. Playing both a priest and the President of France, both utterly bewildered by Bron’s requests to marry David, they deliver every line with such brilliant timing and vocal control that the audience is swept away.

Deadcrush’s technical aspects are in need of fine-tuning. During monologues, the two remaining actors move about the stage in an off-putting manner, suggesting unnecessary direction. The violin score, played by the talented Grace Brown, is lovely but detracts from moments that would be more effective without background noise. The script itself is not fully solid, containing several awkward pauses and random lines. However, Deadcrush remains an entertaining and unique play, brought to life by three excellent actors.

REVIEW: Concrete

Published on January 23, 2026January 23, 2026 by isabellescerriLeave a comment

“A joyously crafted piece of work, performed by two very talented actors.”

Tucked into the upstairs nest of Islington’s The Old Red Lion theatre, a joyous audience encountered an epic story of platonic and familial love, swear words, potential kidnapping and buckets full of northern wit.

Part of FreshFest (The Old Red Lion Theatre’s 4th-year-running festival that celebrates new writing) Ché Tligui’s Concrete had only been previously exhibited at twenty minute scratch nights. Upon entry, the performance is already in action. The scene is decorated with remarkable detail, and the costumes, sound and lighting also follow with such professionalism. It only takes a couple of minutes and a sense of calm concentration settles over the audience, as Joe Stanley who plays Craig delivers a humorous and convincing introduction to the play. The relationship between Craig and Tristen (played by Callum Burns) is electric, and I applaud both the acting talent and direction for such detailed characterisations- Tligui really does make the performance feel concrete.

With many funny side-stories and plot devices along the way, their is a neatness embedded within both the convincing realities of the two boys, alongside key references to socio-political contexts. Physical indicators of the times including the CD player, flip phones and colourful sports tracksuits certainly aid a discussion of the context of the pairs worlds. References to Thatcherism and implied right-winged newspapers cleverly works to create tension between both Craig and Tristen and the audience are left with question of the personal vs the political. Where the groundwork of the play is the pair’s relationship, I think the dilemma opened up reaches beyond deciding to stay or move to London, it offers a chance for the audience to question their own priorities.

Concrete really did demonstrate a grounded representation of everyday struggles, and though hesitant at first to its rather abrupt ending, I think it strengthed the core exploration of the pairs relationship. However, here the plot points and structure felt so strong, I wondered at times if important moments could be pushed further, or pulled back in some cases. As we learn of the future of the baby, the reaction to this moment felt a little small. This also ties in with the audiences little understanding of Craig and Tristen’s background, and it would have been even more compelling to understand how they got to their position today. Nevertheless, a small cuts to running gags and a push to the context would only greaten such a joyously crafted piece of work, performed by two very talented actors.

IN CONVERSATION WITH: Brendan Murray

Published on January 22, 2026January 12, 2026 by Antonia ConstantinLeave a comment

A tender but unflinching look at the messy complexity of love, lies, loss & sexuality, Learning How to Drive tells the story of three people facing the reality of what it means to truly know someone. We sat down with award winning writer, Brendan Murray, to discuss their upcoming production. Learning How to Drive plays at the White Bear Theatre 10th – 21st February. Tickets are available here.

Learning How to Dive explores the shock of discovering you never fully knew the person closest to you — what first drew you to that emotional fault line as the heart of the play?

The play grew out of my own personal experience of being “the other woman”. For over thirty years I’ve been having (and still am) what I suppose you’d call an affair with a married man. I know just about everything about his life and family but (as far as we’re both aware) they know nothing about me or our relationship. In the play, Barry (the fictionalised version of my partner) dies and Matt – one of his sons – discovers that his adored father has had a second, secret life, and Jill – his widow – comes to realise the woman she thought her husband had been seeing for years was/is in fact a man.

How did you approach writing about grief and hidden sexuality without allowing either to become a “reveal,” but instead something quieter and more human?

As I’ve said, the play grew out of my own experience / story – and, as a gay man of nearly seventy, I was also part of the generation touched by AIDS. I lost several friends – three of them former partners – to the disease, so death / grief / loss / sexuality have long been recurring (albeit sometimes tacit) themes in my work – even my work for children. For me, these things are part of the fabric of my life and experience, not mere dramatic devices.

The play spans love, lies, and memory across generations — did your perspective on these themes change as you revisited playwriting after so many years?

For the past thirty-five years or so (after I stopped acting) I’ve been a writer first, director second and teacher third. Of course, you fall out of fashion / the people who commissioned you retire or die but I’ve never stopped and, happily, my back catalogue continues to be produced both in the UK and (even more so) in Europe and the USA. Of course, over the years (living / loving / losing) your perspective shifts. Maybe you become more forgiving, more interested in character / less in plot. It’s no coincidence that my favourite playwright (bar none) is Chekhov.

What felt most different, or most confronting, about returning to the stage as an actor in a story you also wrote?

It’s true that I stopped acting in the late 80s, but I never moved away from theatre / the stage. I wrote for the stage / for actors. I directed plays / actors and – maybe most importantly of all – I taught acting at several London drama schools. I thought long and hard about acting and what it means to be an actor. In many ways my teaching was based on / a reaction to all the things I felt I’d done wrong when I was starting out. Coming back to it after nearly forty years (in a semi-autobiographical play) I worried about things like remembering lines (could I do it anymore?) but feel strangely liberated. I’m not building a career / don’t need people to like me. My ego is no longer an obstacle. I can just listen / respond / be.

The piece is described as tender yet unflinching — where did you feel it was most important not to soften the truth for the audience?

The piece is based on / explores / invites the audience to reflect on / respond to the messy complexities of life / love / loss / lies. Warts and all to coin a cliché. It felt important to write from the heart – the positives / the negatives, the beauty / the mess of it / the truth. I wanted the audience to identify with / feel the resonance of the story I was telling. Big things in the lives of small people / what it means to be human.

At its core, the play asks what it really means to know someone — after writing it, has your own answer to that question shifted?

I’m not sure I was looking for an answer (either for myself or the audience) but rather a better understanding. There’s a line towards the end of the first act where Terry (the lover) is talking to Matt (the son) about his now deceased dad; I think this might sum it up: I know it’s hard, some of the things you’re finding out – same here – but they were part of him. You can’t choose the bits you want. That isn’t love.

REVIEW: The Highgate Vampire

Published on December 19, 2025December 19, 2025 by mirandalangleyLeave a comment

“An obscure chapter of London lore lovingly resurrected in an inventive two-hander.”

In the early 1970s, a letter published in the Hampstead and Highgate Express reported a ghostly presence lingering among the tombs of Highgate Cemetery at night. In the years that followed, the media became awash with stories of paranormal phenomena: devil worship, animal sacrifice and an ominous black figure with blazing red eyes. Whether this was an elaborate hoax or a curious outbreak of mass hysteria remains unclear, but the Highgate Vampire endures as a peculiar corner of London folklore, raising questions about how urban legends are formed and fuelled by the press.

Such strange events are ripe for theatrical treatment, and The Highgate Vampire, a joyously silly new show at Omnibus Theatre, more than rises to the challenge. Blending surreal humour with flashes of gothic horror, the piece never loses sight of a universal fear: the terror of the unknown arriving on our doorstep. The story centres on two rival demon hunters, Bishop Patrick Sheffield and Daniel Farringdon, played by writer-performers Alexander Knott and James Demaine. Despite their differing beliefs, the pair claim they reluctantly joined forces to vanquish the vampire – though whether this is true, or whether the vampire ever existed, is left for the audience to decide.

The show is framed as a lecture, with the bickering duo presenting competing versions of events directly to the audience. The smugly pedantic Sheffield,views the vampire through a strict Christian lens, favouring exorcisms and vigorous wafting of crucifixes. Farringdon, is more flamboyant: a tobacconist and part-time shaman whose new-age beliefs reflect the 1970s’ fascination with the occult. His jazzy wardrobe and love of live performance suggest he may be as motivated by self-promotion as by public safety.

While the lecture format remains constant, the show unfolds through increasingly madcap storytelling. Witness testimonies are brought to life with rapid costume changes and ludicrous accents; a surprisingly instructive ukulele ditty explains how to stake a vampire; and a live demon-summoning sequence demands audience participation. Even the most seasoned demonologist may occasionally struggle to keep up, but Ryan Hutton’s slick direction and well-workshopped script sustain the momentum.

Some of the production’s most powerful moments emerge when the frenetic comedy gives way to stillness. Early sections lean into horror, particularly in the chilling witness accounts, which evoke Highgate Cemetery’s gothic character, supported by Samuel Heron’s atmospheric sound design. There are echoes of Shearsmith and Pemberton’s uncanny blend of the macabre and the banal. By the climax, the show veers decisively into surreal, zany territory – a tonal shift that won’t please everyone, but arguably suits the anarchic spirit of the piece.

Technically simple, the production is supported by Audrey, played by producer Zöe Grain, who provides all sound and technical effects. Above all, the chemistry between Knott and Demaine carries the evening: the jokes come thick and fast, their physical comedy shines, and the humour never undercuts the story. Fans of both horror and alternative comedy will find much to enjoy here.If you’re seeking an offbeat alternative to traditional Christmas fare, The Highgate Vampire is an absolute treat: daft, dark and thoroughly entertaining, leaving you laughing in the theatre and, just possibly, scanning the shadows on your cold walk home. The Highgate Vampire shows until 30th December, tickets are available here.

REVIEW: It Happened to Me

Published on December 19, 2025December 19, 2025 by paddycardwellLeave a comment

“It Happened to Me is a new witty one-man show that shines a light on one man’s extraordinary rise and ultimate demise.”

By all accounts, Peter Lawford lived a pretty remarkable life. Acting as a conduit between the Rat Pack, the Beatles, and the Kennedys, he experienced all the highs of being an integral part of the elite social circles of the 1950s and 60s. The problem with riding the peaks that come with such a profession is that one must also contend with the inevitable troughs. This is the exact predicament that Peter Briffa explores in his first play at the Old Red Lion Theatre in 14 years, It Happened to Me.

The play is an odyssey through the life and work of actor Peter Lawford. It is set on Christmas Eve 1983 at the Betty Ford Centre, where Lawford is receiving rehabilitation treatment for the drug and alcohol addictions that have plagued him for most of his adult life. His neighbouring patients include country music star Johnny Cash, as well as former on-screen partner Elizabeth Taylor. The play is structured around Lawford’s ruminations on the events that have led up to his current predicament.

Born into an officious military family in London, a chance encounter with a talent scout in Los Angeles launched a screen career that would culminate in him becoming one of the most sought-after actors in Hollywood. He was invited to join the Rat Pack in 1959, where he spent his time rubbing shoulders with the biggest stars of the day, such as Judy Garland and Fred Astaire, and was notably the last person to speak to Marilyn Monroe before her untimely death in 1962. A prolific womaniser in his time, Lawford’s reputed charm was so strong that he married into the dynastic Kennedy family after wedding Patricia Kennedy, making him brother-in-law to the eventual U.S. President, John F. Kennedy.

However, by the time we meet him at the beginning of the play, Lawford’s influence in both Hollywood and Washington has long since faded. His marriage to Patricia ended acrimoniously in divorce, and his relationship with the Rat Pack lies in tatters after his excommunication from the group for a perceived slight against Sinatra. Major Hollywood studios now view him as a liability due to his drinking problem, combined with dwindling box-office returns. All he has for company this Christmas Eve is a small amount of smuggled cocaine and the occasional phone call from his neighbour, Johnny Cash.

A one-man play, actor Jonathan Hansler portrays Lawford. His task is not an enviable one, as the production is essentially one man’s hour-long soliloquy on the decisions and mistakes that have shaped his life — a challenge he embodies and executes with aplomb. Director Owain Rose makes clever use of lighting to give the sparsely decorated set a sense of grandeur beyond the sum of its parts. Briffa’s writing is rich and witty, while also providing moments of reflective pathos. However, the sheer density of the material propels the play forward at an almost breakneck speed. While this momentum mirrors Lawford’s own restless and self-destructive life, it occasionally leaves little room for either the actor or the audience to fully absorb the emotional weight of what is being revealed. As a result, moments that might otherwise linger and resonate are sometimes swept along too quickly. Even so, It Happened to Me remains a compelling and accomplished piece of writing, offering a fascinating and often poignant portrait of a life lived intensely — and ultimately at great cost.

REVIEW: Paranormal Activity: A New Story Live On Stage

Published on December 16, 2025December 15, 2025 by Ke MengLeave a comment

“A beautiful, text-book showcase using horror movie to mirror theatrical ontology”

I sat down in the auditorium at the Ambassador, surrounded by my fellow audience members, feeling confident. The horror movie series Paranormal Activity is well-known for using a hybrid of fake CCTV-like camera and family DV to elicit horror, but I have this ultimate self-awareness that this is theatre. It is live performance by real human beings. We both know it isn’t true but just presuming it is true. There are hundreds seated with me. How can it be horrifying? No way.

But I was so wrong. It was super scary and the horror works so well in a different and unexpected way. In the original film, there is a hyper-heightened experience of anticipatory dread and sustained vigilance through long takes, minimal movement, and seemingly impoverished vision. Horror plays around with its watchers in-between presence and absence. Initially an independent horror film written and directed by Oren Peli in 2007 and then gained worldwide popularity through its unique found-footage style, the stage adaptation Paranormal Activity: A New Story Live On Stage, written by Levi Holloway and directed by Felix Barrett, now opens at the Ambassador Theatre after its premiere in 2024 and North American autumn tour in 2025.

Precisely knowing that the camera language is the fundamental underpinning logic of the franchise’s sole selling point of horror, the theatrical production translates it into a more technology-oriented presence. While the technology is unparalleled, the greater brilliance lies in its perception on the issue of “presence versus absence”, even after ripping off the series’ signature use of the camera.

Such perception actually mirrors the existential ontology of theatre and its making process per se: its live (un)presence. “Who’s there”(or what is there) is the eternal question asked not only in this production, but throughout the entire history of theatre criticism, speaking to the most mysterious part of human psychology mechanism. While we acknowledge a shared presence of the stage and the audience (a very relaxed performance also), it is the unseen, the disappearing, and the already disappeared, that ultimately defines.

The narrative follows the most signature pattern of Paranormal Activity: a couple in a domestic setting where psychological horror is always grounded in their not-so-healthy intimate relationship. In the show, Lou (Melissa James) and James (Ronan Raftery) just moving from Chicago to England. James’s mother Carolanne (Pippa Winslow) are chasing after a grandchild, but she doubt whether the couple could be good parents.

Besides the breath-holding illusions work by Chris Fisher, Gareth Fry’s soundscape and soundtrack are equally haunting, even when the melodies are rock and roll. Anna Watson’s lighting captures the nuance shifting in-between the normal and the abnormal within Fly Davis’s realistic domestic setting. Holloway intends to convey that the real problem lies with the not yet fully grown-up husband, but the dramaturgical connection isn’t sound enough between the couple’s relational dysfunction and thus the psychological horror grounded within.

Tickets are available here for performance up to March 2026.

REVIEW: the supermodel in the caff

Published on December 11, 2025 by isabellescerriLeave a comment

“Brilliant night to get you out the gaff, as Bentley welcomes you into her cleverly crafted characters of the Caff.”

A mug of tea, squirty ketchup, salt, vinegar and a very talented Emma Bentley. the supermodel in the caff strives and succeeds in portraying neat characterisations of four women of varying class, backgrounds and dreams, whilst simultaneously sharing one desire- to be heard.

And hear them we do. With spot-on lighting and technical mastering from Stella Kailides, choosing to perform in the round, a less common staging preference, enabled a sense of community from the off, as Bentley greets audience members with a ‘how do you like your eggs?’ charm. Where the sound effects were spot on, I believe the atmosphere Bentley had already established, alongside her continuous acknowledgment of the audience, was performatively enough and perhaps the noisy cafe background music wasn’t needed afterall. A salt and pepper shaker by the audiences seat side, and I reckon we could be the busy caff for her!

Bentley depicts four key women in the play, taking turns to explain their being in the caff. An insecure, likable young woman (Nessa), a homeless lady (Janey), a waiter (Ellen) and the supermodel herself (Bea). Benltey cleverly intertwines the characters existence in the same space. Notably, the researched renditions of Nessa, Janey and Bea were greatly accurate. The use of movement and body language felt very well studied and made the characters entirely believable. Where Ellen was also performed hilariously, the character seemed to struggle to fit as smoothly into Bentley’s worldmaking. The transitions between the characters, where Bently would change in the corner of the room, hidden from the audience, worked to aid the established Brechtian take on the performance. However, these moments of transition seemed to interrupt the flow and I wonder if they were made an inherent part of the performance, perhaps performed in the middle of the stage, it would have aided a strong demonstration of interconnectivity between the characters stories.

Nevertheless as a one-woman play, Bentleys attention to mannerisms, cultural and current references were cleanly performed. Where Bentley could have pushed the ending to leave the audience pondering considerations further than the women we met, the utilisation of props, bisexual lighting (pink + blue) was spot on. I look forward to seeing how the piece develops further- what a night at the caff.