REVIEW: TARANTULA by Philip Ridley at Arcola Theatre 8 – 25 January 2025

‘a powerful and memorable piece of theater’ ★★★★

“Tarantula” by Philip Ridley tells the story of Toni, a charming and relatable teenager living in the East End of London. Toni dreams big—she wants to study at Oxford University and become a writer. She juggles her ambitions with her home life, which includes bickering with her older brother Moss and caring for her baby sister Rochelle. While volunteering, Toni meets Michael, and her life takes a whirlwind turn as she experiences her first love. Beneath this idyllic façade, however, a darker force begins to emerge. 

Georgie Henley  delivers a captivating performance as Toni, immediately drawing the audience into the story with energy and authenticity. Her portrayal captures the sweet, relatable aspects of the character while also navigating the play’s darker themes with precision. This one-woman show is a demanding feat, but Henley’s mastery of the fast-paced storytelling is remarkable—she never misses a beat. 

The titular “Tarantula,” a poisonous spider, serves as a powerful metaphor for the play’s central tension. It represents the unknown—the brutal, unpredictable forces that lurk close by, unnoticed until it’s too late. This ominous presence weaves its way through Ridley’s narrative, adding layers of unease to the sparkling exterior of Toni’s world.

Ridley’s writing is as sharp and intricate as ever. Entering his world means stepping into a realm where the shiny and cheerful often conceal darkness and pain. London itself becomes a character, portrayed as a ruthless city that can elevate and destroy its inhabitants in equal measure. My first experience with Ridley’s work was Mercury Fur in 2012, a controversial and unforgettable play that has stayed with me ever since. Thirteen years later, Tarantula at the Arcola Theatre has proven to be another haunting experience.

The play’s structure is inventive, seamlessly blending humor with moments of profound discomfort. Ridley crafts a narrative that is disturbing and unnerving, yet retains a light-hearted charm in places. Director Wiebke Green’s approach to the material is masterful. By leaning into Henley’s physical performance and relying on her voice and movements, Green creates a stripped-back yet immersive experience. Ciaran Cunningham’s lighting design further enhances the journey, moving from the bright, buoyant tones of Toni’s teenage excitement to the stark shadows of her PTSD and nightmares. By the end, the lighting transforms into something dazzling and theatrical, reflecting Toni’s shift into a more performative state of being.

Despite its many strengths, the play stumbles slightly in the second half. At 90 minutes, it feels overly long in places, and certain sections begin to drag. Trimming the runtime to 60 minutes could have heightened the impact, maintaining the intensity and keeping the audience fully engaged. The ending, while thought-provoking, lacks the satisfaction of the buildup. It leaves us questioning how much of Toni’s story is real and how much is a coping mechanism to mask her trauma—a compelling idea, but one that doesn’t entirely land.

Nonetheless, "Tarantula" is a powerful and memorable piece of theater, one that will linger in my mind much like "Mercury Fur" did all those years ago. It’s a testament to Ridley’s brilliance as a writer, Henley’s talent as a performer, and the production team’s ability to bring this multifaceted story to life.

Photography: Kate Hockenhull

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Wednesday 8th to 25th of January- at Arcola Theatre

Tickets are available here

Starring: Georgie Henley

Writer: Philip Ridley

Director: Wiebke Green

Lighting Designer: Ciaran Cunningham

Costume and Set Designer: Kit Hinchliffe