Reviews

‘British humour at its most outrageous’ ★★★★★ Celebrating its 13th year in London, Faulty Towers immersive dining experience isn’t just for fans of the BBC series (Fawlty Towers) which sparked this spin off. It’s a hit with people who have never seen the original TV comedy, and tourists who are keen to see a bit of British humour at its most outrageous. Part of the success of this interactive show, is that it’s a hugely enjoyable two hours of entertainment like no other. With just three actors and a team of real waiters serving three courses, the whole event is a feat of organisation. The action starts in the bar and has everyone laughing, even before they are shown to the tables in the restaurant. The actors are master of physical theatre and have the mannerisms of the originals down to perfection. They might not be the spitting image of the original cast (John Cleese, Prunella Scales and Andrew Sachs) but they have the appearance, Basil is tall and thin, Manuel is tiny but wiry and Sybil is matronly in her boxy suit with a permed head of hair (an obvious wig which just shouts judge). There’s a wonderful pecking order which allows much of the comedy. Hotelier Basil has pretentions way above his actual status, battling away to bring standards ever upwards. His ambitions are constantly undermined by Spanish waiter Manuel whose rudimentary English results in plenty of misunderstandings. Added to this, his level-headed wife Sybil, keeps catching him out whenever he is being devious, which puts Basil on high alert for the entire show. It all makes Basil a flawed but also a lovable human being (although possibly not one that we would care to meet in real life as his hyperactivity is easily provoked). There’s also a sense in which the characters are recognisable. Perhaps we see elements of ourselves in them, and certainly in those around us, giving us plenty of belly laughs. With so many highlights in the show, it’s only possible to give a taste of what to expect. The kind of jokes that issue includes the scene when Manuel stands on one of the dining tables and attempts to entertain the diners, until Basil enters. An astonished Basil shouts at him to explain himself. “You say wait on table” says Manuel quite reasonably. So, you may imagine what happens when Basil instructs him to collect the glasses, or to give her the butter. “Qué?” says Manuel. “Butt-her” enunciates Basil, and the ever game Manuel makes horns with his hands and prepares to … Basil stops him just in time. Some of the tropes are from the original television series and include such memorable storylines as Basil putting money on a horse. He gives the money to Manuel, and of course, it’s a secret from Sybil, but she finds out by the end of the evening, much to Basil’s humiliation and fury. Another secret of the show’s success is that audiences are more than willing to go along with everything. It helps that the actors are extremely respectful, clearly practised, with no rushed movements. Don’t put your elbows on the table, because Basil comes along and with great care, takes hold of your elbow and lifts them off the table. He admonishes you at the same time and no one could take offence at that. But beware of the teeth in your soup. The script is clever and amusing but the suspicion is that there is an element of improvisation. The show was originally devised by Alison Pollard-Mansergh, Andrew Foreman and others. It has been touring the UK and internationally since 2008, having appeared in 43 countries to date. It’s a remarkable innings, and long may it continue to entertain audiences with its highly original concept, which might be a nod to the ancient tradition of Commedia dell'arte. The food also deserves a mention, with a simple menu of ‘favourites’ and a vegetarian alternative, the choice, although limited, tasted delicious. Photo credit: Rosi E Powell FAULTY TOWERS The Dining Experience President Hotel 56-60 Guilford Street London, WC1N 1DB BOX OFFICE Please note: Faulty Towers The Dining Experience is a loving tribute to Fawlty Towers. Faulty Towers The Dining Experience uses scripts and a dining experience format devised by Imagination Workshop Pty Limited and is not endorsed in any way by John Cleese or Connie Booth.

"Cute, existential Gen-Z romance" ★★★ Maya and James have a potentially romantic start to their relationship. The strangers on a station platform might seem familiar; Brief Encounter by Noel Coward is the 1945 classic, but we are in a different millennium and this love story is distinctly Gen Z in flavour. Exploring the fragility of connection in a city compounded by a quarter-life crisis, what makes it unusual is that our couple meet in the physical world on the Northern Line, not via wrist-aching swipes on a dating app. Middle class, white, heterosexual, educated professionals, Maya engagingly performed by Anna Hewitt and James wittily inhabited by George Prentice are both making their way in the world. She’s smart, confident, enjoys reading, and lives with her flatmate. He’s awkward and keen to impress. They find themselves at the same station every morning and eventually, he finds the courage to make a comment about her book. He doesn’t read and has never heard of James Baldwin. But with the opportunism one would expect from someone in ‘property’, he sees an In, reads Giovanni’s Room and patiently waits for his moment. This comes not in the form of a critique of Virginia Wolfe’s Orlando but the shock death of Maya’s mother. As the forlorn daughter attempts to process her grief, loss, and the terrible funeral “in a grotty Swindon pub” James transforms from the cute, mawkish commuter into a dependable shoulder, the charge on a white horse. So deep is Maya’s need to find stability in an upended world, they quickly move in together and this concise 60-minute play covers the life span of their relationship, from the honey glow of early courtship and Hendon co-habitation to the first cold hit of reality. Direction by Robert Monaghan is fluid and effortlessly melds the forward leaps in time with seamless transitions. The script by Nina Fuentes feels authentic but the wide span of emotional highs and lows comes at the expense of a deeper understanding of the characters whose motives and needs remain obscured. There are numerous segues and suggestions that are not followed up and feel like loose ends. What’s with the sister? Why was James not happy before? Why is Maya so motivated by perfection? The best romances work because the audience believes two individuals are destined to be two halves of the same whole. This relationship, built on chance, opportunity, and a sham appreciation of literature, means the stakes are lower and there is less investment for the audience who become wary onlookers, not sure if this relationship should or can work. A Million Miles Under Hampstead Heath shines a light on the lonely, confusing place, twenty-something can be. Between finishing education and settling down, comes soul searching and the painful emotional learning that comes with a first serious relationship.This cute and existential rom com will undoubtedly resonate with the Gen Z demographic. Box Office

‘it’s fun and it’s light as a feather’★★★★ The New York skyline, so familiar, and a shy, awkward young man distributing leaflets to the passers-by who are rushing by too busy to lift their eyes or notice him or the messages he’s promoting. The opening of a joyful, hopeful musical about ordinary days in which ordinary lives will find their own extraordinary moments of connection and joy in other people. The musical itself is 15 years old and opens with an absolute banger as our shy young man, new to town, knowing no-one but endlessly optimistic that life will smile on him, sets the scene with a rapid-fire and soaring song accompanied by unexpectedly balletic pirouettes. It’s the high point of the show (not always good to begin with your stellar number but absolutely fine here in settling an audience who know they’re in for a good time). Warren (Aidan Cutler) is sweet, socially awkward, not an obvious catch. Deb (Dora Gee) is a student, up from the sticks, a dork in New York, failing to persuade her professors that she knows anything about Virginia Woolf for the simple reason that she doesn’t like her or her work. And Claire (Melissa Camba) and Jason (James Edge) fill out the four-strong cast, a couple not entirely sure they should be together – he says Cabernet, she says Austrian Riesling, etc etc – but giving it a try out. There’s nowhere lonelier than a huge city where everyone else seems to be succeeding and enjoying life and you don’t know any of them or how to get in. It’s a musical without a book – songs only to carry the perhaps too-separate stories of the singletons who meet and make a connection and the couple who’ve met and might be ready to split apart. And that works fine, even if the solo numbers and duets work better than slightly muddy ensemble pieces when the four of them occupy the same stage space if not quite the same life space. Aidan Cutler in particular is a treat, a brilliant voice, comic timing and an agility that’s as beautiful as its initially unexpected. He brings a real warmth to his awkward character, a man who could be lovely but presents as a bit of an oddball. The scenes in which he and Dora Gee (sharp, cynical, funny performance) connect in an art gallery then a coffee shop are witty and inventive and the most affecting in the show, as well as having some excellent audience non-participation comedy thrown in. So it’s fun and it’s light as a feather, both in terms of being simply enjoyable in its own right and in having nothing particularly profound or original to say about the human condition or how we get from loneliness to togetherness. It sags a little towards the end, the songs feeling a little musically repetitive even as they continue to carry the story very effectively, but overall a thoroughly pleasing experience and one that should leave all but the stony-hearted happier going out of the auditorium than they were going in. ORDINARY DAYS by Adam Gwon at Upstairs at the Gatehouse 22 – 27 April 2025 Directed by Karl Steele Presented by Old Joint Stock Theatre Box Office: https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173659331 Reviewer David Weir’s plays include Confessional (Oran Mor, Glasgow) and Better Together (Jack Studio, Brockley, London)

'two acts come together to give a fuller image of motherhood' ★★★★ 1/2 Mum. Mom. Mummy. Mother! Interspersed in the first act are the playful voices of children who convert a woman into a mother, a role not to be taken lightly, and one that forever transforms said woman. Those recordings give insight into not just childhood and play, but what it means to be a mother. In Mothers Have Nine Lives, the characters (performed with versatility by Becky Lumb, Mira Morrison, Ellie Ward) share their different yet relatable stories as riveting monologues. Each comes from different experiences of motherhood: of personal expectations to financial resources to ways of becoming a mother. Louise clears away toys while she asks herself, through others’ telling questions, whether she wants to be a mother. Gina, a single mother of two under two, seeks freedom through trying to acquire a double buggy she can’t afford, while posh Margaret grasps onto work and passes on actual mothering (a great satire). Wendy lovingly becomes a mother through adoption and worries about her own mortality. Kim’s two little girls (comically) keep her busy between what one wants to eat and the other wants to wear. Katherine has high aspirations for her daughter, and vicariously for herself. Mia compares having a daughter and son and their ability to communicate, while Helen’s son and daughter are hard to get time to spend with during the holidays. The three actors impressively switch accents, attitudes, and attire to take us on this journey. What these diverse stories have in common is that being a mother is so tied up in another’s needs and wants that it can confuse the individual’s desires. Each piece could possibly become its own expanded play and yet, the brevity of each story imprints a certain lingering poignancy. -------- In the second act, Yellow Wallpaper, the ever impressive Becky Lumb is given the stage to take on the 1892 short story by Charlotte Perkins Gilman, beautifully and deftly adapted by Ellie Ward. The original short story is surprising in how well it shows the impact of the ‘baby blues’ but this 30-minute piece modernises and takes it further. Lumb convincingly takes us into the mind of a woman who has been kept inside a grand house for her 'own good', and presumably the baby’s. The white cot used lovingly, protectively in the previous act has become something of a cage on the stage, which she stands behind as she descends into a kind of madness; and smoothly switches to calmly tell the story of how she got to this point while sitting and advising a stuffed doll. She is captivating. The lighting and projections (Luke Adamson) of the eponymous wallpaper add immensely to the sense of eeriness, and give gravity to the situation of the woman’s mental decline. Baby blues (now postnatal depression) has now been given a new name and in recent years has more awareness (perhaps not enough). Yet more stories of motherhood should reach the stage and this piece demonstrates how compelling it can be. - ------- In recent years, we have seen an increase in the conversation around motherhood on stage, though perhaps not enough. In this production, with its (baby) blues and (wallpaper)yellows, these two acts come together to give a fuller image of motherhood: the fervent love, the fear, disappointment, the hope, the messiness, the struggles, the loneliness, desperation, imperfection, and yes, even the joy. Yellow Things couples these two acts in a way that gives a full picture of the vicissitudes of motherhood without making the viewer afraid of being called mother. Or Mum or Mummy. Written by Joanna Borland / Charlotte Perkins Gilman, adapted by Ellie Ward Performed by Becky Lumb, Mira Morrison, Ellie Ward Directed by Ellie Ward Produced by Ellie Ward Lighting Designer: Luke Adamson

“Too much philosophising and not enough plot” ★ ½ Dick. introduces us to a group of Gen Z friends at a 26th birthday party. They're leaving their mid-twenties, real adulthood beckons, hidden loves and old friendships tangle in amongst them. The flagship scene of the first act comes when they've returned home from clubbing and begin one of those slightly slurring deep-and-meaningfuls that tend to happen in the melancholy early hours after a night out. They discuss sex and love, connection and fulfilment, what it all means as they find themselves settling firmly into their adulthood now that they're officially closer to 50 than 0. The five distinct characters each present something to which we can all relate, a viewpoint, outlook, sensibility. They open up about their most intimate experiences, their wants and desires. It's snappy, funny, and intelligent. For me, here is the heart and core of the play. This is the story, character-driven and thoughtful, their interactions and observations. But soon after this opening, it starts to become overly verbose and lacking in substance, relying thinly on the trope of young people lamenting the lost youth they still have. That in and of itself is not enough to sustain a two-hour runtime. Some stories are introduced though. At the very start an unspoken love story between River (Max Brennan) and Ruby (Frederick Russell) does crackle with chemistry, but is quickly forgotten in favour of some other tenuous take on boredom and hedonism and misery, which is strange as the characters don't appear to have any jobs or money worries or family, or anything really. This gives the play a random and meandering feel as they move through the course of what appears to be a year, with characters appearing here, there, and everywhere to chat a load of nonsense. So what starts as a promising and on-trend deep dive into sex and relationships à la Sally Rooney becomes, appropriately, a hot mess. But a smart one nonetheless. The main problem is that it is excruciatingly slow. Bravely long pauses become too long and too overused, giving whole exchanges a dull flatness and tonal stasis as they have the same revelations time and again. I stress that these kind of pauses and silences are brave and can work incredibly well. One particular example, when an entire scene between River (Brennan) and Ruby (Russell) is performed without a single word, so much said with so little, is truly commendable, touchingly acted too. But too much of this with no modulation in mood is a recipe for monotony. Scenes end up repetitive and circular, with the same characters saying the same thing over and over again in different ways, and different characters saying those same things again, over and over again, in the same way, differently. Though I'm not entirely sure what it is they're saying. Writer/Director Adam Kinneen is clearly talented, but it is in need of serious cutting – because the effect of all this is that there is no variety in tone or pace at all. It’s like it’s been written with being clever in mind, not an audience’s time in mind, which is ironic given the admittedly nice monologue at the start describing the truly erotic part in the long lead-up to sex as “f***ing someone’s time”. So what we have then is the same point – whatever that is – being hammered home from start to finish, almost undermining an audience’s intelligence. Now, this might just be because there simply isn't enough weight and volume to stretch over its two-hour runtime. The first twenty minutes is where this play is at. It's strong and sizzling. There is real potential here though, as what we have is an interesting, if underdeveloped, set of modern characters, who, actually, you could see having these kind of deep, slightly drunken exchanges as they did at the start in a series of 20-minute episodes on screen instead. I'd be curious to see what these people make of a range of subjects. And as an overall show, it's really well produced. The company’s marketing materials are cool; the set, light, and sound design is all great; and the performances are strong and professional. The content though could do with some reshaping. As it is, there's too much philosophising and not enough plot, too much time given to trying to be profound; ultimately missing what could be some interesting socio-political points about why these young people feel such apathy in their lives. Dick. promises to not waste a second saying what it means, though it appears to take a long time to get there. It tells us it's a play about needing more from everything, but I think it'll be on to a winner if it gives us a little less Dick. and a little more drama. Photography: Abigail Dawn. DICK. Written & Directed by Adam Kinneen Presented by Next to Nothing Productions, in co-production with Drayton Arms Theatre Drayton Arms Theatre, 15 – 26 April 2025 Box Office: https://www.thedraytonarmstheatre.co.uk/dick-2 Reviewed by Alix Owen

‘Expertly-crafted’ ★★★ ½  A hospital curtain and 3 plastic chairs, matching the blue scrubs on each of our 3 actors – this is all Tending needs to exposit on the lives and struggles of modern NHS nurses. It does so expertly and effectively but, as the plainness of the staging indicates, it lacks that special something. No one could fault the show with a lack of realism, as lead actor and writer El Blackwood demonstrates exceptional dedication both on-stage and beyond as she brings to life interviews conducted with many current and former nurses. Combined with impressive and lively direction from John Livesey, every emotional push called for by the script is built up and executed flawlessly from sorrow to laughter, with Blackwood’s supporting actors (Anjelica Serra and Ben Lynn) having their roles down to a fine art. With these pieces in place we are guided along through the day to day lives of nurses from several departments, from ICUs to pediatric wards, who all share the same core experiences. All look after their patients, all of them care, all do their best while feeling the pinch of cuts and all have their lows. Some of them conclusively. It all feels authentic and visceral, and it’s here that the show is undoubtedly at its strongest. But there are drawbacks. The simple staging is effective yet falters somewhat in just how static things stay for the full-length, despite good initiatives of dance and movement in the first half. Further, for all the virtues of the show’s verbatim basis, it limits affairs to a mere reflection of the tried and true internal issues of the NHS; there isn’t enough staff, there isn’t enough money and people are dying needlessly. As documentary this can’t be faulted, but as theatre it’s missing an additional edge; a narrative that arrives somewhere distinct from where it started or that produces inspiring spectacle. It’s not a show that will leave you different on leaving compared to when you came in. At its worst it offers no genuine insight into an age-old and complex issue, preaching to the choir with expert craftsmanship but without any higher ambition or theatrical risk-taking. And without these, it’s just shy of greatness. Tending runs at Riverside Studios from 15 April – 4 May Written by El Blackwood Directed by John Livesey Box office: https://riversidestudios.co.uk/see-and-do/tending-156272/ Produced by Anther Theatre Reviewed by Harry Conway

‘An ambitious reimagining that falls short’ ★★1/2 In the bustle of St Pancras station, Heisenberg opens with an unexpected jolt—Georgie, a whirlwind of fast-talking unpredictability, kisses the neck of Alex, a quiet 70-year-old woman seated alone. Stevie Nicks’ “Edge of Seventeen” blasts over the speakers, setting a bold, edgy tone. This radical reinterpretation of Simon Stephens’ 2015 play, directed by Katharine Farmer, reframes the original story with a queer dynamic at its center. Jenny Galloway plays Alex with understated restraint, while Faline England dives headlong into Georgie’s manic energy. The two strike a visually compelling contrast—their personalities clashing and circling like two mismatched orbits. But despite the intriguing premise, the production struggles to maintain emotional momentum. Much of the play revolves around Georgie’s relentless monologues, delivered at breakneck speed, peppered with contradictions and emotional feints. “You must find me exhausting but captivating,” she says at one point, seemingly aware of her chaos. And that line sums up the experience of watching the play: something is captivating in Georgie’s unpredictability, but it quickly becomes exhausting without enough variation or depth to sustain it. Alex, meanwhile, feels underwritten and underutilized. Galloway’s performance suggests emotional complexity simmering beneath the surface—grief, longing, perhaps a life lived in restraint—but the script only hints at it. Her backstory is mentioned briefly and then brushed aside. As audience members, we find ourselves yearning to know more about Alex, to hear her side of the story, but the structure doesn’t allow it. Visually, the production opens with flair—an effective train-like light rush that immerses us in the space—but that initial atmosphere fades quickly. The staging remains minimalist throughout: two practical chairs are shuffled about the stage with increasing futility. That said, the production does find itself in brief, beautiful moments, most notably in a quiet, post-intimacy scene. After all the words, the play finally pauses. Georgie and Alex lie side by side in silence, their bodies close, their eyes searching. Here, the dialogue stops and something genuine emerges: vulnerability, connection, the tentative quiet that follows exposure. In these silences, the play finds its truth—an intimacy more powerful than any of the preceding monologues. Heisenberg touches on meaningful themes—loneliness, identity, grief, and the desperate human need to connect—but it often feels more like a thought experiment than a fully formed emotional journey. The writing doesn’t reach the same depth or complexity as Stephens' more impactful works like Pornography or Maria, and the emotional beats feel fleeting rather than fully realized. Still, the queer reimagining is a welcome and overdue perspective, and there’s sincerity in the work done by the creative team. But overall, the production struggles to justify its emotional investment. It promises depth but only brushes its surface. Despite some lovely, fleeting moments of truth, Heisenberg ultimately feels like a missed connection. Photography: Charlie Flint ________________________________________ Wednesday 9th of April to Saturday 10th of May 2025 at Arcola Theatre. Tickets here Cast and Creative Team Director: Katherine Farmer Cast: Jenny Galloway and Faline England Writer: Simon Stephens Lighting Designer: Rajiv Pattani

‘Doctor Who meets Monty Python’ ★★★ It is Space Year Thirty-Four Sigma Ninety-Nine. Peace talks between two great empires – Earth and Vangali – are unfolding aboard a spaceship. The fate of the universe hangs in the balance. Representing the two factions: three Earthlings, one Vengali, and the Ambassador of Xathoolian V – who looks uncannily like a green pompom. Elsewhere, a group of people who don’t know their own names find themselves stuck they don’t know where, looking for they don’t know what. This set-up gives you the best elements of Untitled Space Play. It is an ambitious, sweeping sci-fi and joyful, absurdist comedy; think Doctor Who meets Monty Python. Harry Cowper’s script shines brightest in the first half, as we hop from one spaceship scene to another, each brimming with comedic potential. The cast make the most of this potential. Dan Rhodes is especially entertaining as Captain Artemis – a comic cross between David Brent and Buzz Lightyear. His scenes opposite Kimberley Ellis’s steely Vengali General sizzle with tension and humour. Comedy is what this play does best. When it ventures beyond this, its offering is weaker. The first half throws a lot of ideas and plot beats at the wall, not all of which are satisfyingly played out in the second half. Characterisation, too, sometimes takes a backseat to humour, leaving some roles feeling thin. The biggest issue, though, lies in the convergence of the two plotlines – the peace talks and the nameless wanderers. I found it impossible to make sense of the sci-fi logic underpinning their connection. My suspicion is that if I sat Harry Cowper down, he’d be able to explain the mechanics in detail – and they’d probably be quite clever – but it simply doesn’t translate on stage. A version of the play that finds a clearer way to communicate this narrative logic would significantly strengthen the second act. Despite these flaws, the play is just so much fun – especially the first half. In these challenging times, watching a green pompom babble in alien gibberish for two hours is exactly the kind of escapism we need. One would be hard pressed to walk out of the theatre without a spring in their step. Untitled Space Play by Harry Cowper / Two Guys in a Room / The Bread & Roses Theatre / 8 – 12 April 2025 https://app.lineupnow.com/event/untitled-space-play

‘heartwarming, humorous and challenging’ ★★★★★ Has anyone ever considered the possibility of being forced to leave behind the home you know and love, and migrate to another place, due to global warming? Well, this play homes in on that nightmare, giving full vent to what we might hope is only paranoia. Whilst there are many heartwarming and humorous moments in the show, it is also challenging and quite frightening. Set in England, It imagines a future world when global warming is forcing people to move further north, at the same time migrants are continuing to come to the UK by boat. The story focuses on one couple, and one woman who has fled her country, perilously taking the journey by boat with her young daughter. We meet the late middle-aged couple, Ricky and Joe, outside in their garden with its beautiful vine. Not only are they concerned with the rising temperatures but are disconcerted when a young woman, a migrant appears. Having fled from an untenable life-threatening situation, she is trying to make a home for herself and her daughter in the Uk and is seeking a friend. The relationship between the trio is cleverly built in a series of stories, imagining different scenarios. In some the couple are welcoming, in others indignant, or scared. The young woman is sometimes looking for a friend, at other times confused and often desperate, but she is always dignified. The show has been developed in collaboration with migrant organisations and people with lived experience of migration, and the aim is to ask, ‘what happens if you welcome the uninvited Guest?’ It doesn’t shy away from the fears that people harbour, nor does it fool us that people are perfect, or that suspicions are necessarily invalid. Ultimately it shows a common humanity. It’s an in depth look from the perspective of these three particular characters. The actors are exceptional and each one of them has a very meaty role. Although the play shows each situation as a story in itself, the characters retain the same personality throughout and the through line of the story also gives a wonderful coherence to the piece. Writer Stephanie Jacob takes the role of Ricky. Her script is very characterful, giving the actors a wonderful chance to show off their skills. Jacob is delightful in her role, showing considerable charm and a playful relationship with the husband. Graham Turner plays Joe, as another warm character, supportive to his wife and having a very believable breakdown (in one of the scenarios) when he realises that he doesn’t know what to do in the face of the overwhelming situation of huge numbers of migrants appearing in Britain. It’s a very relatable moment. Now, to Erica Tavares-Kouassi who plays Hannah. She doesn’t have the broad experience of the other actors (who have done everything from RSC, National to film and TV) but she is a superb choice for the role. Having seen her twice before in very different roles, she is a very fine actress, clearly able to adapt herself to the character, yet always riveting to watch and a powerful presence. Finally, to the staging (designed by Christianna Mason) which has neat ways of bolstering the story through symbolism. Branches from the vine become loose and break away as the heat rises. The garden is surrounded by a low wall, which works so well in exploring its many meanings, used here as a barrier, or as security and also to show the huge social impact of inviting people to come in. The piece is certainly not preachy, it just reaches out and gives new perspectives on the migrant situation. Turning it on its head and imagining being that person who finds themselves in the horrific situation of needing to leave behind the home they know and love. Photography: Héctor Manchego THE GUEST presented by Cockahoop Theatre Written by Stephanie Jacob Directed by Lucy Richardson Omnibus Theatre, 1 Clapham Common Northside, London SW4 0QW BOX OFFICE https://www.omnibus-clapham.org/the-guest/ Cast Erica Tavares-Kouassi Hannah Stephanie Jacob Ricky Graham Turner Joe Assistant Director Ayal San Producer Fabio Santos Production Manager/Lighting Designer Imogen Senter Set/Costume Designer Christianna Mason Sound Designer Gareth Swindail-Parry Stage Manager Gill Wood Engagement Producer Chi Communications Manager Héctor Manchego Photographer/film maker Henri T Technician/Lighting and Sound Operator Naomi Shanson