Review: That Girl at the Old Red Lion Theatre

Hatty is 29 years old and works in advertising. When one of her housemates gets engaged, she and best friend Poppy prepare to move into a new place together. Except Poppy’s just got a new boyfriend, whereas Hatty is still single, bored with her job and suffering from frequent bouts of anxiety – all of which is a far cry from her glamorous past as a child movie star.

Written by and starring Hatty Jones, That Girl is the story of a young woman who still hasn’t quite figured out who she is or where her life is going. Based on the writer’s own experience as the star of 1998 children’s movie Madeline, it examines how this early fame continues to affect her as an adult, long after giving it all up in favour of a “normal” life.

Photo credit: Sunny Smith

Although Hatty the character has the same backstory as Hatty the writer, it’s not clear how much the two now overlap – though it does seem unlikely that the Hatty on stage would allow herself to be portrayed the way we see her. Insecure and needy, this Hatty is unable to celebrate even her best friends’ successes and, despite her protests to the contrary, only really comes to life when given an opportunity to relive her childhood fame.

Even these opportunities aren’t as frequent as she’d like everyone to believe, and it’s often Hatty herself who brings up the subject, shoehorning her early success into conversation by any means possible. It’s clear that her memories of Madeline are a comfort blanket, a reminder of a time when life was exciting, and a stark contrast to her current mundane existence. These days, she’s just like everyone else – a young woman approaching her 30th birthday, watching her friends settle down with boyfriends and mortgages, and panicking about being left behind. While we’re able to relate to her motives, it’s difficult to approve of her methods as, in her desperation to hold on to her lifelong friendships, she ends up putting them at risk.

Whatever our feelings about the character, it’s difficult not to warm to the real Hatty Jones, who makes a powerful playwriting debut with That Girl, and also gives a thoroughly engaging performance as “herself”. She’s joined by fellow cast members Alex Reynolds as Hatty’s colleague Lola and housemate Poppy, and Will Adolphy, who plays Poppy’s boyfriend Adam and Hatty’s date Dylan. Both actors move seamlessly between their two characters with just a quick change of outfit, to show us a cross-section of the people that make up Hatty’s world – a superficial world of Tinder, bloggers, avocados and brunch.

Photo credit: Sunny Smith

Directed by Tim Cook, the action moves at a steady pace as we follow Hatty over two days. They’re not particularly eventful days – which is sort of the point – but that certainly doesn’t mean there’s a lack of tension. With cardboard boxes scattered around Sunny Smith’s set, we’re constantly reminded of the impending move and the pressure it’s placing on Hatty and Poppy’s already strained relationship. This eventually comes to a head after a deeply uncomfortable moment between Hatty and Adam, which is so well written that it feels like watching a car crash in slow motion; we know what’s coming, but can do nothing to stop it.

Simultaneously funny and heartbreakingly sad, That Girl is a very relatable story about fame, friendship and the pressures of adulthood. Madeline may be all grown up, but if this play is anything to go by, her adventures aren’t over yet.

That Girl is at the Old Red Lion Theatre until 15th September.

Review: Adam and Eve at The Hope Theatre

Traditionally, we’ve been led by books, movies and the like to believe that “happily ever after” starts when you get married and settle down. This is particularly interesting when you consider that one of the oldest stories ever told is all about a couple who proved that theory wrong in spectacular fashion.

In Tim Cook’s reimagined Genesis story, newlyweds Adam (Lee Knight) and Eve (Jeannie Dickinson) are moving to the country and buying their first house. It’s not quite Paradise, but they need to get on the ladder and it’s all they can afford, especially now they’ve got a baby on the way. Their “masterplan” is all going swimmingly – until English teacher Adam is suspended from work after being accused of improper behaviour by Nikki (Melissa Parker), one of his students. At first, Eve is more than willing to stand by her man, convinced the accusations are a fabrication and will soon blow over. When they don’t, the first doubts creep in and she begins to wonder just how well she really knows her husband.

She’s not the only one. Over the course of 65 minutes, the story takes multiple twists and turns, and the balance of power shifts back and forth several times, keeping the audience in a permanent state of uncertainty with no idea who we can trust to tell the truth. It’s difficult to talk too much about the performances from Jeannie Dickinson, Melissa Parker and Lee Knight without risking spoilers but I can say that all three are excellent, taking on board the subtleties in the script and giving us just enough to keep us guessing throughout.

All the characters have significant flaws, and both Adam and Nikki give us plenty of reasons to simultaneously doubt and believe their version of events; even when the truth is revealed, there’s still a lingering suspicion that the other party may not be entirely guilt-free. The play’s conclusion is cleverly seeded by Cook – looking back to the start of the play, we can see the clues we missed earlier – but left me wanting more: to understand more fully the guilty party’s motivation, which is clearly complex but only briefly explained, and to witness the fallout from the big reveal.

That should be taken as a compliment, however, because what’s already there is an hour of tense, gripping drama during which it feels like anything could happen. With just a couple of chairs making up the set, director Jennifer Davis makes effective use of the empty space, maintaining a physical distance between the characters so that every scene – even early on – has the potential to escalate quickly into a conflict. Add to this the way the characters continue to eyeball each other suspiciously during scene changes, and the result is an atmosphere of simmering tension that keeps us on our guard from start to finish.

In Adam and Eve, Tim Cook takes the themes of temptation, trust and accusation and proves that while we may now be living in a very different world – a world dominated by money worries, fake news and the relentless pressure to be perfect in the eyes of others – in reality, humanity has changed very little since the original Adam and Eve got kicked out of the Garden of Eden. If there’s a small consolation to this depressing fact, it’s probably that at least we have an excuse; if they couldn’t make it work in Paradise, what chance is there for the rest of us?

Adam and Eve is at The Hope Theatre until 9th June.

Interview: Jennifer Davis, Adam and Eve

Following its critically acclaimed debut last year at the Brockley Jack, Broken Silence Theatre’s Adam and Eve returns next week for a longer run at Islington’s Hope Theatre, now with new director Jennifer Davis at the helm.

Adam and Eve is about a young couple who have moved to the country in search of a better life,” explains Jennifer, who takes over from the show’s previous director Paul Macauley. “Everything’s going pretty perfectly until one day Adam is sent home from school following accusations made by a student… It’s a story about truth, lies, temptation and sin.”

Tim Cook’s play was a five-star hit last year, with reviewers describing it as “utterly phenomenal” and “absolutely chilling”. Unsurprisingly, Jennifer is pretty excited to be involved in its revival. “The writing is exceptional. In just 60 minutes Tim has managed to create a gripping, relatable experience that will leave an audience really questioning which version of the truth they believe. I’ve wanted to work with Broken Silence since seeing their production of Crushed at the King’s Head Theatre in 2015; I really admire their commitment to supporting regional writers and new work.”

Some might be daunted by the prospect of taking over such a critically acclaimed play, but Jennifer is looking forward to putting her own stamp on the show and exploring the opportunities that come with a new cast and venue: “I was honoured to be asked, and fingers crossed I create something that will do the previous production justice. We have two new wonderful cast members in Lee Knight and Melissa Parker – not forgetting the brilliant Jeannie Dickinson who was in the original run. There’ll also be a new set design and perhaps a few surprises…

“I’m excited about exploring the Hope’s space, too. It’s such an intimate venue and I can’t wait to see how the play develops when the audience are quite literally eyeball to eyeball with the actors.”

Jennifer studied Drama and Theatre Arts at the University of Birmingham, graduating in 2013. “Originally I wanted to be an actor but at university quite quickly realised that wasn’t for me,” she explains. “I’ve been freelancing as a director for five years now and have really found my happy place – working with new writing!”

Those five years have kept her busy; she’s now a Junior Associate at the King’s Head Theatre and an Associate Artist with Theatre Absolute, and she also founded Shoot Festival, which supports emerging artists in Coventry and Warwickshire. “I’ve been very lucky to work on some incredible projects, so highlights are hard to choose! But if I had to… I’d probably say directing (sorry) by Susie Sillett at the Birmingham Repertory Theatre. It’s a one woman show that explores what it’s like to grow up as a millennial and the pressures we face in today’s current economic, social and cultural climate.”

Book now to see Jennifer work her magic on Adam and Eve, which runs at The Hope Theatre from 22nd May to 9th June.

Review: Voices From Home at The Old Red Lion

The inaugural Voices From Home event from Brighton-based Broken Silence Theatre brought together writers from the Home Counties and beyond to showcase new work from outside the capital. Four thought-provoking short plays all started from the theme of “trust” before heading off in a variety of directions to bring us an evening populated by outspoken refugees, dodgy psychics, estranged sisters and reluctant lovers.

The latter feature in Love Me Tinder, written by James McDermott from Norfolk and directed by Roman Berry. Emma Zadow and Mauricia Lewis prove that opposites do (eventually) attract, as spiky Tina and sweet-natured Ellie cautiously embark on a Tinder-based romance beset by false starts and misunderstandings. It’s a funny and very relatable piece about the many ways we self-sabotage whilst dating out of fear of getting hurt, but it also explores the unexpected and touching ways in which new love can change us for the better.

There’s a similar blend of laugh out loud humour and human vulnerability in Danielle Pearson’s The History Club, set in the writer’s home county of Berkshire, which examines how grief can make us do extraordinary things. In this case, three women engage the services of a less than convincing psychic to put them in touch with their lost loved ones. Directed by Jennifer Davis, the play sees Vicky Winning clearly enjoying herself as Florence, with moving performances from Anne Rosenfeld, Helen Belbin, and particularly Dominique Moutia as a teenager struggling to come to terms with the death of a schoolfriend.

The heartbreaking Trust, written by Sussex-based Ella Dorman-Gajic and directed by Raymond Waring, shows us the awkward reunion of two sisters, played by Alex Reynolds and Abbi Douetil. From a close childhood relationship, marked by a shared love of S Club 7 and a wall chart plotting their heights over the years, Sarah and Lotty become increasingly estranged as their gran’s health deteriorates. It becomes obvious that she effectively raised them in their mum’s frequent absence, and the play ends on a hesitatingly uplifting note as the two attempt to build bridges and come to terms with their loss.

Each Voices From Home event will also feature a Headline Playwright; the first of these is Sevan K. Greene, whose play Asylum – directed by Tim Cook – opened the evening with an alternative and eye-opening view on the first world response to refugees. Lynn (Rosalind Adler) has got an empty house and a kind heart, but never really expected to be taken up on her offer of taking in a Syrian refugee – and when Mohammed (James Hameed) is sprung on her by his caseworker Mike (Matt Kyle), he’s not quite as gushingly grateful as she’d expected. As with all the other plays, Asylum offers lots of laughs, but they grow increasingly uncomfortable as the piece goes on, and we’re forced to examine our own motives, assumptions and reactions to those less fortunate than ourselves.

With so much theatre going on in London every day, it’s easy to forget that there’s plenty to enjoy elsewhere too. Voices From Home co-producers Tim Cook and Katharina Rodda have assembled a strong line-up for their first showcase, bringing a little piece of the Home Counties into the capital and proving to any sceptics out there that good theatre can and does exist outside the M25. Here’s hoping we don’t have too long to wait for the next evening; I’m looking forward to seeing what my home county of Kent has to offer…

For more details about Voices From Home and Broken Silence Theatre, visit brokensilencetheatre.com.


Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Tremors at the King’s Head Theatre

You do have to wonder sometimes what makes people go into politics. Despite certain obvious benefits, it seems often a very thankless career, exposing you to public scorn, ridicule and disdain the minute you mess up or show the slightest sign of weakness. Because of the nature of the job, politicians become public property – and the public has the power to make or break them on a whim.

This is the very predicament in which Tom Crowe, the Labour MP at the centre of Tim Cook’s new play Tremors, finds himself. After a private encounter in a hotel room with a senior party member goes viral, he takes the advice of his PR advisor Lisa and flees to Eastbourne. But his hometown is in chaos, with riots and vandalism led by anti-austerity activists threatening to tear the town apart – and a dark secret from Tom’s past that could derail the attempt to salvage his future.

Though written a few years ago, by chance the staging of Tremors by Broken Silence Theatre has fallen during one of the most extraordinary eras that many of us can remember in British politics. It’s an indication of how disillusioned and suspicious we’ve become – not really a surprise after watching our politicians routinely turn on each other over recent months – that a character like Tom, who genuinely just wants to help people, seems entirely too good to be true. Even so, William Vasey gives a believable performance, managing to convey both the wide-eyed idealist, who followed his heart into politics, and the ambitious social climber, whose accent these days is more Oxford than Eastbourne.

Tom’s one of four characters who never get fully developed, despite good performances from the cast. Much like in politics, each of them comes to represent a particular ideology, which overrides their individual personalities, and consequently we never really get to know them as the 60-minute play unfolds. At the opposite end of the scale from Tom is his old friend Chris (Tim Cook), who has the same passion to make the world better, but very different ideas on how to achieve it. And then there are the women: Lisa (Vicky Winning), a hard-nosed ice queen who doesn’t do feelings, remorse or indeed anything that might get in the way of her own career interests. Her opposite number is Marie (Cerys Knighton), Chris’ sister; her activism days are firmly behind her, and now all she cares about is finding her brother before he does something stupid.

There’s a lot going on for such a short piece, and some of the plot threads at times become a little tangled – Tom’s career crisis and concealed homosexuality, the decline of his coastal hometown, Chris’ struggles to come to terms with his past or the country’s future, and the revelation of the secret that binds the three old friends together. And despite some helpful BBC News announcements, the timeline of the play isn’t always entirely clear; some early flashback scenes only really make sense in the closing minutes.

Though not without some issues, Tremors is an interesting premise and definitely has potential for development into a longer play examining the issues in greater detail. What connects all the various plot threads is a simmering anger over the growing distance between we the people and those who put themselves forward to represent us – which is something I think most of us can identify with. Judging by recent events, that’s not an issue that seems likely to go away any time soon, so here’s hoping Tremors will return to shake things up in the future.


Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉