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Hello and welcome to the Quill. An independent theatre review blog. The Guy with the Quill reviews everything from fringe theatre to the west end. If you want a review for your show then just drop us a message!

Friday, 18 July 2025

Infernal

 Incognito Theatre

16th-19th July

Rating: 4 and ½ 

 

‘We will not be forgotten’

Those words seem to echo like a ghostly promise, as we sit in the black box performance space of Incognito Theatre for the return of Room Ones ‘Infernal’.  Originally staged at the White Bear theatre in 2024, award winning director/writer Harry Harding has given this untold story a new lease of life and a fresh intensity. But we’re getting ahead of ourselves, what is ‘Infernal’?

 

Anyone who was forced to study English Literature at school (so 99.9999999% of the UK population) has probably heard of some, if not all of the Brontës.  Whether you fell in love with the tormented Heathcliff, admired Jane Eyres’ tenacity,  or just struggled to navigate the bleak moors of early 18th century literature, the names Emily or Charlotte Bronte have been in the minds of most young scholars for generations. However, like a reto 90’s boyband (when did the 90s become retro) there are always a few names that fade into the background. With this in mind ‘Infernal’ does the forgotten justice, by reminding us that there were two other living Bronte siblings. The name Anne Bronte (basically the Jason Orange of Take That) may not resonate as much as her sisters, but Mister Harding still gives her much deserved attention in this tale of passion and fiery creativity (she did pen ‘Agnes Grey’ and ‘The Tenant of Wildfell Hall’ after all). But it’s the forgotten brother Branwell Bronte (the Mikey Graham of ‘Boyzone’) which ‘Infernal’ shines it’s light on. 

 

Over the next 120 minutes (including interval), Mister Harding takes us deep into the tragic tale of this tortured young writer. The play begins, like most tragic tales, with a death. We open shortly after Branwell’s demise. With his family united but also separated by their grief, it seems only fitting that the writers spirit returns, almost in rebellion at his unfinished and untold story.  Throughout the play we see Branwell struggle to find his place in the world, and the recognition he so desperately craves. There is something distinctly Edgar Allen Poe about the whole affair as Branwell navigates alcoholism, drug addiction and incestuous desires for his sister Emily.

 

Bronte traditionalists may be confused at why such a figure deserves a play written about them, but as Hardings narrative plays out it quickly becomes apparent that there was more to this man than meets the eye. As the Bronte sisters embark on their own artistic journeys, Branwell is there driving on his favourite sister Emily, with more than a hand in her most famous work. Although this may sound like fantasy,  Harding has clearly done his research and is shining his light on a little known literary theory……


This play in no way undermines the accomplishments of these truly extraordinary women, instead it does what all good theatre should do…..it offers us a fresh perspective and does so with great style. Harding’s writing effortlessly blends familiar Bronte passages with his own words, so seamlessly that it’s sometimes hard to tell where one ends and the other begins. 

 

But it’s in the performances where the play really shines. Griffin James is mesmerising as the tragic Branwell, flitting from manic drunken addicted to forlorn writer. Showing a  characters spiral to self-destruction can be one of the greatest challenges an actor can face. Too much and you risk becoming a caricature, too little and you undermine the characters journey. James handles this challenge masterfully, giving a performance which is both hard to watch (in a good way) and enthralling, especially when it comes to the moments of intimacy between himself and Emily.  However, where James’s skills really shine through is in his quieter moments. When Branwell first reappears as a ghostly spectre there’s a stillness, and a sense of hopeless, a question of was my struggle worth it. Lesser actors would have overlooked this moment, but James gives it weight it deserves. 

Other standout performances come from Cara Heal and Jed McLoughlin. Heal effortlessly brings to life the other forgotten Bronte sibling, Anne Bronte. Her quiet dignity as the go between, from Charlottes stern countenance to Emily’s’ intense flame, is captivating. As an audience, Heal makes us want to read Anne Bronte.  Meanwhile, McLoughlin’s masterful delicateness as the patriarch Patrick Bronte, is wonderfully showcased alongside his charming portrayal of Branwells friend Joseph Leyland. Simply put, McLoughlin once again demonstrates his endless skill and versatility as a performer.

However, a special shoutout must go to Katie Hart, whose portrayal of Charlotte Bronte is one of the highlights of the play. Stern, authoritative but ultimately a figure of sympathy as the last surviving sister, Hart brings to life not only Charlotte but also her creation Jane. Her portrayal beautifully encapsulates the link between creator and creation and should put her at the top anyone’s list for any future productions of ‘Jane Eyre’.

‘Infernal’ is truly a treasure, burning bright and shining light on a lesser known figure in a much bigger story. As a show this production deserves recognition and the chance to spread its wings and continue to evolve. Harding has truly outdone himself this time. 

Monday, 20 May 2024

Taking a Love Pill at the End of the World

 

Rating: 4 Stars

The Hope Theatre.

18th May 2024


‘’Just so you know sir, this play contains implied drug use, pregnancy regret, emotional manipulation, and other potentially distressing themes’’.

Right……

That’s a lot of trigger warnings to pack into a box office brief. ‘What the hell have I signed up for?’ I thought, as I made my way up to the small studio theatre. What I wasn’t expecting was a gripping and entertaining dive into the extremes of pursuing a crumbling relationship.

The apocalypse is on its way, and in a small kitchen in England a couple are facing their final days…….

The final days of their relationship! Igg and Tom have been together since university, but the spark has well and truly faded. Now, they can barely stand to be in the same room as each other. But wait! Science has found a way to help! Forget therapy, there’s a new pill that can force you to fall in love, marry and have babies. Sounds……..legitimate. Oh, and did I mention that the world is ending?  Whole sections of the country are locked off, food is limited, fires are burning, and the kitchen tape is leaking brown sludge!

This is what I love about good new writing, Sam Smithsons’ script combines a thought-provoking question, with an extraordinary setting. How far will someone go to keep a dead relationship alive? What is ethical and what isn’t? If we rely on drugs are emotions really our own? As we consider these points, we are very much aware that we have been placed in a world that mirrors the relationship of our two protagonists……it too is dying.

Speaking of our protagonists, the excellence of the writing is only further amplified by the performances of Charlotte East (Igg) and James Baxter-Derrington (Tom). The opening scene is nothing short of beautifully awkward, filled with perfectly timed silences, tension and much uncomfortable eating. Baxter-Derrington is delightfully pathetic in his demeanour, whilst East masterfully portrays a woman at the end of her tether. As the scene plays out one thing is clear, these two should not be together.

The remainder of the show plays out over two additional scenes, where we not only draw closer to the end of the world, but also see a dramatic power shift. Easts’ Igg has taken the magic love pill, and now finds herself heavily pregnant with Toms child. Here is where the acting goes up another notch, as we see East seamlessly switch between feelings of love and deep regret at her choice, all the while feeling the presence of Baxter-Derrington’s gradually overbearing Tom. The final act cumulates with Igg, now a new mother, escaping from the man she doesn’t love into a world of fire and destruction, all while accompanied by Wil Pitchards’ brilliantly imposing score.

‘Taking a Love Pill at the End of the World’ is an inspiringly well written and brilliantly acted piece. My only criticism is that one hour wasn’t long enough! The time flew by, and I found myself wanting to see more of this ending world, and our doomed duo. If this play ever gets made into a full length two act feature, then I will definitely be in the front row. Until then I will watch both Smithsons’ career and that of his actors with great interest. More please!

 

Thursday, 11 April 2024

The Retreat

 

Rating: 5 Stars

The White Bear

10 April 2024

It’s rare that a show is so funny that an audience member knocks their drink over before the actors have even entered the stage. However, that was what opened the show for Room One Theatres’ production of ‘The Retreat’ on the 10th April 2024, at the White Bear Theater.

 

Coincidence? Maybe…….

 

Regardless, it certainly provided an early indication of the laughs to follow, as actor Jed McLoughlin entered for his first scene. Taking on the role of Luke, a Buddhist monk in training, McLoughlin didn’t let the unexpected water works disrupt a thoroughly enjoyable performance. But before we get into the nitty gritty of the review, let’s talk plot.

 

Tired and unfulfilled with his hotshot banking lifestyle, McLoughlins’ Luke has decided to take part in a spiritual retreat in the Scottish highlands. Peace, serenity and chastity are the order of the day, until Lukes older brother Tony (played by Harry Harding) shows up. What follows is a descent into a fast-paced comedic masterclass with truly tear-jerking elements. One moment teers of merriment are running down your face and your sides are hurting, the next your pausing and realising the gravity of the plays narrative.

 

Penned by comedic legend Sam Bain (Peep Show, Fresh Meat), ‘The Retreat’ sees Tony and Luke reunited on by the death of a great uncle. Over the course of their reconciliation, each brother reveals themselves to be deeply flawed. The appearance of Tara (Cara Heal), the supposed owner of the retreat only serves to complicate matters further.

 

Harding and McLoughlins are a perfect comedic duo, engaging in a seamless battle of wits, as each tries to highlight the others flaws. Harding is merciless on the attack, giving off strong Jay Cartwright energy (The Inbetweeners), as he throws his all into showcasing the drink and drug addicted screw up that is Tony. McLoughlins’ unbreakable calm is not only the perfect response to Hardings hilarious energy, but also signifies that not all addictions come in substance form. Add to this a wonderfully awkward failed one sided romance between Luke and Heals’ Tara, and the laughs just keep on running. Each actor completely smashes their role, with Heal being the perfect accompaniment to Harding and McLoughlin.

 

Despite the comedic strength of this play, for me the most compelling moments were when the tone shifted. Creating a belly laughing comedy is hard, creating one with convincing serious undertones shows rare talent. ‘The Retreat’ succeeds where others would fail, as both brothers reveal their own struggles since the death of their parents and struggles of their joint upbringing. The final moment where the brothers finally accept themselves and each other nearly brought me to tears and earned them a much deserved standing ovation. If you haven’t seen ‘The Retreat’ then get yourself down to the White Bear for this masterclass in comedy and drama.

Friday, 5 April 2024

Horne's Descent

 

Rating: 5 Stars

Red Lion Pub

4th April 2024


WARNING! CONTAINS SPOILERS

With a puff of cigarette smoke, and a burst of a long forgotten Jazz album, modern London is replaced with one staggering out of the smog of the First World War.

Set somewhere in the early 1920’s, ‘Hornes Descent’ follows the struggles of Peter Horne, a returned trench fighter set on taking holy orders. What follows is a gripping delve into the battle for one mans’ soul. Miranda Cattermole masterfully transforms the upstairs of the Red Lion Theatre into a convincing upper-class, early 20th Century Parlour (AKA Our battle ground spiritual battleground for the evening). From the moment you step into the admittedly small space you find yourself transported to a time of immoral lavishness set against the closing screams of bitter conflict.

But who are our combatants in this spiritual no man’s land?  Alexander Hackett brings the aforementioned Peter Horne to life, masterfully mixing sophisticated mortality and caddish charm. There are pleasing tones of both Tom Ellis’ ‘Lucifer’ and Aidan Turners’ John Mitchell, in Hacketts’ portrayal, as he dances the fine line between salvation and corruption, turning from the faithful mouthpiece of God to a man with a desire to sin.

Acting as the two pillars of morality that Mister Horne swings between are our talented female cast, Cici Clarke and Bethany Slater. Clark takes on the role of the host of the evening, London socialite, Etta Florence, while Slater portrays her dangerously sultry niece Mary. Both women perfectly encapsulate the two extremes Horne is battling against, one righteous and the other sinful. Whereas some actresses would risk falling into parody with these roles (it’s no easy task playing the devil and God), Clark and Slater give a masterclass in subtlety, gradually bringing out their characters true identities. Their final scene where they discuss Hornes’ final fate, and place wagers on their next battle is a true delight (I did warn you there would be spoilers!)

However, for me the star of the show was undoubtedly Magnus Gordon, who portrayed Albie, Hornes alcoholic friend. Not only does Gordon portray an utterly convincing drunk, but he does such a good job at making Albie a completely punchable b***ard that it’s a shock to realise we  feel sorry for him when his character meets an untimely end at the hands of his best friend (Again Spoilers!)

‘Horne’s Descent’ is a fascinating, deep dive into the corruptibility of humanity, featuring first class performances from a cast of talented performers, and gripping dialogue from Nina Atesh masterfully pulled together by director Chloe Cattin. If any show deserved a transfer this surely does.

Reviewed by Alexander Wright

Wednesday, 5 July 2023

Macbeth

 

24th June 2023
Keats House
Rating: 5 Stars

A restoration of faith…….

I love Shakespeare. What actor doesn’t? Unfortunately, I had my faith in the Shakespeare community shattered, after witnessing a truly awful production of ‘The Taming of the Shrew’ in 2020 by the Royal Shakespeare company. This career ending performance is the only one I have walked out of before the final curtain. You’d think after this I’d be done with Shakespeare for good…….Thank you Drama Impact for restoring my faith.

Behind ‘The Taming of the Shrew’, ‘Macbeth’ may just be one of the highest risk Shakespeare plays to stage. There’s a reason why if your play was bombing during the Elizabethan era it would find itself being replaced with ‘Macbeth’. Quite simply ‘Macbeth’, when done well, kicks a**e! On the other side of the coin though, when done badly there’s nothing worse. I once spent four hours watching a painfully slow adaptation of the Scottish play. Eye gouging doesn’t quite cover it. Anyway, enough of my theatre viewing history, let’s talk Drama Impacts production of ‘Macbeth’.

Set in the charming grounds of the historic Keats House, on one of the hottest weekends of the year, Drama Impact comes across every challenge of outdoor theatre. From the clearly modern elements of Keats Houses architecture to the sound of road traffic. Drama Impact not only over comes these challenges but makes them a complete nonentity.

Staged in the round, Drama Impact envelopes you in the world of the doomed warrior king Macbeth. The sound of drums, lit torches, and hooded figures, give the impression that you have entered another world. A world of sacrifice, witchcraft, and omens. The players move around the audience and through the trees that surround the area, until you constantly find yourself glancing over your shoulder afraid you will miss part of the action.

Action, Macbeth has plenty of that. However, action is meaningless without actors. Without large scale sets and a multitude of props, it’s the actors that carry this production. Paul Boichat and Joanna Nevin play the titular couple of Macbeth and Lady Macbeth, bringing to life the plot to assassinate King Duncan (Played by director Martin South). Both Boichat and Nevin bring an interesting dynamic to their roles, playing them as long-time lovers who have a deeply embedded passion or lust for each other. One can’t help but think that they are both each other’s undoing, as they lead each other down the path of no return. This aspect is particularly showcased in Nevin’s portrayal of everyone’s favourite mad queen, Lady Macbeth. Conventionally, this character is shown as the criminal mastermind who steers Macbeth towards his evil ends. However, Nevin and Boichat’s relationship is more balanced, allowing for a greater impact when we witness her descent into madness. This descent is portrayed both truthfully and I daresay beautifully by Nevin, in which could very well end up being a career defining role.

As solid as these performances are, it’s the supporting roles which really stand out. Banquo is usually portrayed as a gruff warrior of honour, contrasting with Macbeths sly and dishonourable character. When you look at the list of past actors who have played the role you immediately find names such as Brian Blessed, Graham McTavish and Brando Eaton, only adding to the stereotype. With this in mind Leon Wander’s portrayal of Macbeths second is pleasingly refreshing. Here we see a man who is as confused, trusting and ultimately horrified as anyone would be that scenario. There is something instantly relatable about this Banquo. In this world of magic and blood, he may be considered the closest thing the audience have to a mouthpiece.

That’s not to say there aren’t some great warriors in this piece. Ryan Williams portrays Macduff with all the passion and fire you would expect from a warrior chieftain, while Andy Canadine and Martin South perfectly present two warriors from wars gone by as Ross and King Duncan respectfully. A special shout out however must go to Miles Blanch for his characterisation of Malcom. As much as I don’t wish to criticise the Bard, you can occasionally find roles which are always endanger of fading into the background. Curio in ‘Twelfth Night’, France in ‘King Lear’ and Robin Starveling in ‘Midsummer Nights Dream’ all fall into this category. In the hands of an unskilled actor the role of Malcom would also be consigned to this fate, however Blanch gives an immensely truthful performance as a young prince who goes beyond his perceived limitations to become king.

Now those of you who know anything about Macbeth will have probably noticed that I’ve left a few characters out. Yes, this was deliberate and yes it was to add dramatic effect. The stars of this production are undoubtedly the witches. Played by Niamh Handley- Vaughan, Jed Mcloughlin and Frida Rodbroe, these characters don’t just steal the show but rather tie it up and hold it to ransom. From the very beginning, these shadowy figures are there. Lurking at the back, bringing us into their world, making us gaze at the devastation they have wrought and in one instance anointing us in some form of pagan ritual. Director Martin South made the genius decision to have these performers multirole the other remaining parts, giving the impression that the witches influence is deeply imbedded in everything we see. Handley- Vaughan, Mcloughlin and Rodbroe’s effortless multi-rolling combined with flawless supernatural movement isn’t just terrific acting, it’s a masterclass in performance.

Martin Souths ‘Macbeth’ is a perfectly paced, initiative and gripping production. Where were you Drama Impact when I needed you most? The Royal Shakespeare Company could have learned a thing or two from you back in 2020……even if you did cut the character of the Porter!

 

Saturday, 4 January 2020

GUEST REVIEW- Cinderella

1st January 2020
Savoy Theatre, Monmouth Rating: 4 Stars If you were to find your way to Monmouth, Wales, during the Christmas holidays, and follow the signs to the Savoy Theatre, at the top of the village, you would probably find, in front of the quaint, not so little theatre, a rabble of children and families. Their excited little faces and sugar filled hands are a sure sign that the annual Christmas pantomime is about to go on. The savoy Christmas panto has become a much-loved event over the years and having attended this years Cinderella’s rendition I can very well see why.
This traditional pantomime is truly family friendly. The story and audience participation are clearly aimed at the youngest in the audience, while some of the most ‘highbrow’ jokes (including the one political joke) are meant to tickle the adults in the auditorium. All of this is peppered with a wide range of musical numbers, with songs ranging from Elton John’s ‘Your song’ to One Directions ‘What Makes You Beautiful’ through to Black Lace’s ‘Agadoo’. There is something for everyone in this truly expert musical score, played live by Chris Sennett and Morgan Evans.
Writer and director, Samantha Densham (who sometimes doubles as the Fairy Godmother) does an amazing job at blending story, music and audience participation, whilst including members of the local youth theatre in the show. Her casting is also honestly perfect.
Sarah Hancock does a splendid job in the role of leading lady, portraying a truly lovely Cinderella. Hers and Alison Hellings (Dandini) duet to the tune of ‘That Man’ is also the most exquisitely performed song in the whole show.
Felix Jones makes his professional panto debut as Prince Charming with a unique twist. His ‘spoiled brat’ and at times downright goofy prince is well accompanied by the sarcastic quality of Alison’s Dandini.
Emma MacNab in the role of the Fairy Godmother and Nicholas Benjamin in the role of Buttons shoulder most of the children entertainment and participation. They both come out of the task gloriously. Emma by gliding from scene to scene with an easiness that would make you think she might in fact be a REAL fairy, and Nicholas by giving such an energy filled and perfectly comedy-timed performance to capture the attention and love of all sides of the audience. We follow him from the very first to the last chase and never tire in helping him out in his adventures (including his sub-plot romance with Dandini).
The cast is completed by Clare Brice’s (also responsible for choreographing the shows mesmerising dance numbers) stepmother, one of the most alluring villains I’ve ever witnessed, and Robert Traynor’s and Kevin Tillett’s ugly step-sisters, respectively Trumpella and Borisina, who downright steal the show when it comes to adult entertainment. Their rendition of ‘Sisters’ gives a little bit more than a nod to the Crosby and Kaye’s original act but to be fair it is comparable and very possibly more hilarious than the famous couple duet. What makes them the heart and soul of the show however is the incredible comical chemistry that they bring on stage . It’s a pure joy to see them set up and occasionally tear apart each others jokes right in front of your eyes. Their comic timing is impeccable and as a result the audience is left wheezing with laughter and with more than a few tears in their eyes. At the end of the hour and a half show and despite all of the step mother and sisters scheming, the happy ending is inevitably achieved and everyone leaves the theatre with a smile on their face. A truly commendable show, with a very high production value (the costumes are truly splendid) and a talented cast and crew. All that is left to see is how they are going to trump it next year. A truly lovely family friendly pantomime at the Savoy in Monmouth . Claudia Roncallo