Reviews

‘The script is a literary masterpiece, if overlong, with some careful editing it has more than great potential.’ ★★★ How many men does it take to heal the bond between a homophobic father and his gay son? For Timothy Graves, writer of Walking Each Other Home, the answer is three. His second play becomes as wonderful as it is queer, cross mixing cultures and sowing early seeds of a troubled childhood which building like a musical motif throughout the work, reach hypnotic but painful heights. Arriving at Islington’s Old Red Lion, accompanied by the humdrum of one of North London’s busiest boroughs, it spiritually grasps for, and occasionally achieves, a divine, exotic sublime, all in the quiet confined setting of a Norfolk cottage. Drawing upon the four years that Graves spent in Ecuador between 2020 and 2024, including the moment he flew back to visit his dementia-stricken father during the hottest day on record in 2022, the play is a recreation of a man having to come out twice. Its script has obviously been curated by an author of novels, short stories and longer prose, with clever turns of incident, motifs built all the way up to a climax, alongside clever stage tricks which break the fourth wall, involving all of your senses. With his full body of work including Homo Jihad, Pharmakeia and blogs for the Huffington Post, Graves is not afraid to tackle the unknown, the marginal and how queer communities are founded outside of Western Culture. It is in these moments that his writing feels like a large breath of very fresh, very original, metaphorical fresh air. Michael (Edward Fisher), supposedly standing in for the playwright, arrives tanned and kitted out from his recent nomadic sprawl across Peru to his father, Frank (Christopher Poke), who cannot even remember his name. Sandeep (Amrik Tumber), his father’s Sikh carer who flies across the stage whistling Punjabi hymns, is as caring as he is mysterious, holding his own wounds close to his chest until the second act. Away with the butterflies, or exploding with angry outbursts, the depictions of Frank’s dementia feel much too real and carefully considered: just trust me on this one. Whilst Christopher Poke is on stage, with his spellbinding performance, both Fisher and Tumber step to his tune. The second act between Sandeep and Michael certainly has its merits but it feels like another play altogether. Ultimately, the play felt too long and didn’t need its interval as it breaks the magic, unsettles the audience out of the colourful Norfolk heat and means that the play struggles to lock into gear for the second act. The script is a literary masterpiece though and with some careful editing for time has more than great potential. I hope to see more from Graves and his dramatic career. He is one to watch and not afraid to challenge himself, or his audience and he is writing something new, something alive and something that though I am much his younger, feels like it is speaking for the current generation. A Seraphim Theatre Company Production Walking Each Other Home by Timothy Graves, Directed by Jason Marc-Williams at The Old Red Lion Playhouse 28 April – 16 May 2026 Ticket Information Performance Dates: Tuesday 28th April – Saturday 16th May 2026 Performance Times: 7.30pm (2.30pm) Run Time: 90 mins (includes interval) Tickets: £16 – £25 BOX OFFICE FLASH SALE: Tickets £16 for 1st & 2nd May with Discount Code HOME16 (this weekend only) CAST Michael Maloney: Edward Fisher Sandeep Singh: Amrik Tumber Frank Maloney: Christopher Poke Set Design: Jason Marc-Williams & Noah Cousins Technician: Rachael Corrigan Photography is by Lidia Crisafulli.

‘One thing is certain: Fillinger can certainly write a script’ ★★★  Doug kisses his wife’s knee to try and get close to her again. After months of sitting in bed with a tiny amount of duvet between them, Charlotte, who met her husband Doug at high school, feels a world apart from him. An impenetrable silence stands in for an imprisoned son, convicted of sexual assault at an American college. Tony Award–winning Selina Fillinger’s new play, Something Clean, investigates with uncompromising honesty and excruciating dialogue the changing sexual politics of the West — through parents who struggle to navigate how their son ended up in prison for rape. Fillinger, born in Berkeley, California, and moving to Oregon as a child, attended an American college herself: Northwestern University. After painting in the finer details of a PR nightmare for the White House on Broadway at The Shubert Theatre in 2022, this play though taking on a more private subject, built around the lives of what was a previously a typical American family, packs an emotional punch to the gut and shows how easily these lives can be torn apart. A recipient of The Judith Barlow Prize and now a staff writer for The Morning Show, one thing continues to be certain for her stint at a London pub theatre: Fillinger can certainly write a script. Direction by Alex Stroming picks up the pacing and slows the script down at the right moments, handling intimate scenes between the married couple with care. Joey (Felipe Chavez), the social care worker whom Charlotte (Katherine Oliver) meets while working, attempts to find some remedy for the crimes of her son. Joey is her perfect foil: a slicked-back, cocktail-drinking and endlessly kind contradiction to Charlotte’s inwardness, anxiety-ridden shudderings across the stage. As ever, when two opposite things meet, they come together and form a friendship. Though, even from the beginning of the performance, one wonders how long such a friendship can last, considering Charlotte’s circumstances. A little more imagination in set and design throughout could have gone a long way. When the work embraces the whole of the space, like when Charlotte throws garbage around the stage in a fury, it brings what has otherwise been a secluded, centre-stage piece right up into the audience’s faces. Due applause must be given to every performer, though, who find sparks in each other to ignite within themselves and deliver considered, careful and clever characterisations of physically, or indeed emotionally, burnt-out individuals just trying to get by. Lawrence Carmichael, putting on two hats as husband and security guard at an American college in two scenes, puts his vocal chords to use with great success. Something Clean asks something difficult of us through Charlotte. Are we right to use others to process our grief, especially when it will affect those we rely upon and, even worse, when we hide the largest secret of our past from them? It is great to see a production raising awareness for The Survivor’s Trust, an organisation supporting sexual abuse services, being didactic where it needs to be while also showing that assault has many victims, claiming everyone it touches. Produced by T. Regina Theatre Co CAST Lawrence Carmichael Felipe Chavez Katherine Oliver CREATIVES Jessica Potts ASST. DIRECTOR / STAGE MANAGER Emily Nelson COSTUME DESIGNER Agathe Williamson SET DESIGNER Tutu Ching MOVEMENT DIRECTOR Phil Hamilton LIGHTING DESIGNER Meighread Dandeneau Liz Kent INTIMACY DIRECTOR VOICE & DIALECT COACH / MARKETING ASST

“ A story that is both timely and timeless” ★★★ The story of The Last Black Messiah is a story that is both timely and timeless. It’s hard to imagine that the name The Last Black Messiah is not a nod to the 2021 Shaka King film Judas and the Black Messiah, both of which spotlight betrayed Black revolutionaries. King’s film tells the dramatized true story of the murder of Fred Hampton - renowned civil rights leader and deputy chairman of the Black Panther Party in Chicago - at the hands of the FBI thanks to intelligence passed on by an informant within the party whom Hampton had grown to trust. Emeka Agada’s The Last Black Messiah tells a similar, though fictional story of Black revolutionary leader and Howard University professor, Dr. Oko, following his imprisonment on charges of conspiring to assassinate the President of the United States. The play’s narrative begins when Dr. Oko receives a surprise visit in prison from a former student named Asante; the ensuing 75-minutes are full of non-stop, dense conversations surrounding race, activism, identity, sacrifice, capitalism, America and more. The script also touches on legacy, memory, and the critical need for a community to tell their own story. The word ‘community’ itself is unpacked. Characters reckon with the institutional racism, violence and oppression at the heart of the ‘system’ operating at every level of American society (if not globally). As Dr. Oko and Asante speak, they reference protests in the surrounding streets. These protests, based on context, have presumably followed the assault of Rodney King by white LAPD officers. This backdrop, along with the title, serve as ever-present reminders of the reality behind Agada’s fiction. Unfortunately the script fails to live up to its subject matter. Agada seems unwilling to kill any darlings, instead cramming countless thoughts, ideas and questions into the play’s short run time. In a misguided attempt to address everything, the play struggles to offer an original message on anything. The truth of Agada’s story is clear, his unique perspective is not. Nathaniel Brimmer-Beller’s direction fails to help break up the dialogue-heavy performance or introduce action to make the story more propulsive. One question did stand out: is the good father the one who gives his life for his child’s future or the one who is home for dinner? Is there room for both? At its core, under the jumbled ideas and on-the-nose dialogue, Judas and The Black Messiah asks its audience to consider what obligation an individual has to his community versus his individual human right to joy. Agada himself stars as the titular Black Messiah, Dr. Oko. His intimate relationship with the script is evidenced in his emotional performance. Kenneth Butler’s performance as his former student and protege, Asante, unfortunately lacks the heightened desperation and passion necessary to believe and invest in his character. Audiences - especially those like myself who grew up in the American education system - will recognize the timelessness of The Last Black Messiah . The facts and events of the story could apply at any point in the course of American history. The FBI has always operated as represented on stage. The system has still not been revolutionized. Unfortunately, the play does not succeed in offering a fresh perspective or insight to this conversation. The Last Black Messiah is full of potential, falling just short of its goal to inspire dialogue with its audience. Venue: Brockley Jack Studio Theatre, 410 Brockley Road, London, SE4 2DH Box office: www.brockleyjack.co.uk or 0333 666 3366 (£1.80 fee for phone bookings only) Dates: Tuesday 28th April – Saturday 16th May 2026 at 7.30pm. Tickets: £17, £15 conc., 14+. Running time: Seventy minutes with no interval

‘Plenty to enjoy’ ★★★ Entertaining Murder, a veritable labour of love from Chris Burgess who has grown up with the story and clearly knows his subject, is really not as it claims ‘a murder mystery’. Based on the 1920s ‘Ilford Murders’ as they were called, we see unhappy-at-home Edith Thompson and her younger sea-faring lover Freddie Bywaters ‘plot’ to murder Daisy’s traditional dullard of a husband, Percy Thompson. This happens at the top of the show and we go back in time to see the how and why - but there is no mystery. What we do get here is a really interesting snapshot of society and how society views sexual transgression - all played out in song. So, Edith is glamorous and charming and yearning whilst Percy is just a bore and a bit of a bully. When (very) able seaman Freddie Bywaters comes into their lives - initially via Edith’s more unassuming sister Avis - it’s clear there is a spark which will light a bloody big flame. When the wholly un-sympathetic Percy is stabbed to death it’s pretty clear quick quickly what has played out and what will happen to both Edith and Freddie. Whilst the road to getting there is overly long and a bit confused tonally, there is plenty to enjoy. Burgess uses the well worn path of a narrator figure looking back at events and to hold everything together for the audience. Here it is the all-grown-up Avis who, some 50 years later, is campaigning to get her sister pardoned and this device works well - not least as Avis is played by Sue Kelvin a fantastically experienced stage actress who does everything really nicely. There are - remarkably - 30 songs. Many of these are wholly unremarkable and the show would have undoubtedly worked better as a single act 90 minute piece. On the delightfully small Gatehouse stage we see apt and helpful work from Richard Lambert’s lighting and Aaron Clingham tinkles away on the keyboard to mostly notable sonic effect. The singing is good, especially when as an ensemble and as the battling-against-trad-Edwardian-society Edith, Daisy Snelson has great potential and holds the audience. There’s also really good work from both Dora Gee as the young Avis and especially Alex Cosgriff as, initially, Percy but in a multitude of distinct roles. The show also falls down a little as it’s not quite sure whether to be wholly serious or a bit fun. The second half is a little more flighty but a couple of songs left many on press night open mouthed as they were so flippant and throwaway despite covering murder and hanging. There are some echoes of both Les Mis and particularly Sweeney Todd, and some judicious cuts and a tweak of tone down the latter road would aid a show that was always engaging and punches above its weight. BOX OFFICE

‘slick performances but lacking originality’ ★★☆☆☆ The New Diorama Theatre, the venue for tonight's performance, has been at the forefront of the fringe theatre scene in London over the last 10 years and has hosted many of the best independent theatre companies showing new and innovative work. It is comfortable and friendly but basic in decor and was packed for this night’s performance. We were ushered in to the sounds of hymns given a modern lively childlike makeover. This play started with a bang, a clap of thunder, a metaphor perhaps for God's anger at the irreverence that was about to be shown. And that was it - no more surprises? Nothing new, nothing original, hackneyed old innuendos and camp double entendres. The story was simple but cleverly tied into biblical events and Peruvian history. Set in the 1990s it tells the tale of a young boy and the time leading up to his first holy communion. His father, General Jose, is a typical macho army officer of the military dictatorship of Alberto Fujimori and his mother Maria the doting subservient wife. Fairly typical family for Peru at that time you would think until we come to young Jesus. Whoops! Did I say no more surprises? Well maybe not for the audience, I was convinced that everyone who saw this play got exactly what they were expecting or wishing for. It was poor old mum and dad who got the surprise. Little Jesus had some kind of epiphany while gazing up at the man on the cross. And that was basically it, the moral of the story being that love conquers all, regardless of whatever form it takes, and that prejudice and bigotry have no place in this modern world. Unfortunately, this modern world isn't really like that. Too many Jose’s and Fujimori’s. Luckily for us, actors Sergio Antonio Maggiolo and Guido Garcia Lueches took us a million miles away from all the military madness happening in the world. This show was slick and very well performed with both performers exuding larger than life personas and projecting their charisma into a welcoming appreciative audience. There were plenty of opportunities to clap along with the music and many had no hesitation joining in. This was a happy friendly fun night for everyone involved. Tom Cagnoni's hard work, mostly behind the scenes, was occasionally lost when his guitar was drowned out by the backing track a few times. Apart from that, his musicianship and the music in general was worthy of praise. The costumes were predictable but varied and appropriate and the set was suitably colourful and bedecked with religions paraphernalia. Written by Sergio Antonio Maggiolo An Alpaqa production BOX OFFICE Photo credit: Alex Brenner

‘fascinating and informative’ London based Central Drama Lab focus on theatre making and performance research. The Face Within The Face workshop included live performance, interaction with mask making and painting, and an opportunity to ask questions of the crew. The performance consisted of a number of demonstrations, video and a talk. The demonstrations were accompanied by composer and musician Ding Mingyu. A mention here of his expertise which included improvisation on the piano, creating very beautifully sonorous sound which made a contrast with his percussion instruments. These were used to more dramatic effect, accompanying the performer Zhijie Zhang making the sounds of insects on a forest floor, a monkey and a dragon. The overall concept for the two-hour workshop was in the pursuit of finding a way to take the Chinese Opera, with its fixed forms, to new artistic pathways allowing the old to meld with the new. The response to this included video design. These projections were almost kaleidoscopic with complex patterns and repetition suggesting the precise and exacting movements and expressions of Chinese opera. The performer gave us a demonstration of Sichuan Opera face-changing techniques. It might be assumed that he would take one mask off to replace it with another, but it was far more magical than that, as it happened in the blink of an eye. The secret is that the soft masks are attached to a piece of cotton, which is pulled away revealing another face. It was a stunning performance aided by the costume design by Shuai who used traditional designs. One of these was a fabulous sun which he painstakingly printed onto the fabric. The costumes were very complex with many pieces which flowed around the performer enhancing his physicality. Artist Yimei Du brought something entirely new, her own artistic practice in a performative style. She created a ‘doll’ on stage using a wire frame, tissue paper and tape. It was very fragile and had the look of a seated Emperor wearing fabulous robes. At this stage she didn’t add any colour. In the question-and-answer part of the workshop, she explained that she takes her inspiration from origami and in performance she is making a facsimile of the other performer. It is a shadow of him. Having only observed him from the wings, the model had no colour, because the colours he was wearing could not be seen from her perspective, he appeared to be in black. Thus, she honours her lived experience in the moment, and in this way, she makes a ‘living sculpture’. During the workshop there was also an attempt to combine Sichuan Opera Face-Changing with the Vakhtangov approach. This was led by senior lecturer Oleg Mirochnikov from Central Saint Martins, University of the Arts London who gave a demonstration. This was perhaps less successful than the other performances, it feels uncomfortable, a little forced, but this is the nature of experimental theatre and research. We don’t know where it might lead. Overall, praise to director Yi Tang for bringing this intriguing and ambitious work to the stage. It’s a fascinating insight into an ancient artform, and very enlivening to see how artists are responding to this and using it as inspiration for their artistic practice. Central Drama Lab is an independent theatre production company Yi Tang — Director Oleg Mirochnikov — Artistic Director Sheron (Xiaoran) Luo — Technical Director & Lighting Designer Xuqian Gao; Guo Cheng; Shuai — Curatorial Team Ding Mingyu (Ming) — Composer, Arranger & Sound Designer Zhijie Zhang — Performer Yimei Du — Live Face-Painting Artist & Interactive Performer Shuai — Costume Designer Zixin Huang — Digital Interaction Designer Mia Cousins — Stage Manager Yiqian (Joe) Huang — Producer Jenny Cheng — Graphic Designer (Poster & Programme) & Exhibition Guide  Yi Zhou (Zoey) — Photographer, Videographer & Digital

‘ Powerful, poignant and needs saying’ ★★★★ Farine Clarke’s richly compelling play is billed as a “medical comedy”. Yes, it’s wryly witty in places but actually it’s an intelligent, informed exploration of important issues. The word “comedy” doesn’t quite sit right here. Dr Jeffrey Longford (Aden Gillett) is a much-loved GP of long standing who works in Somerset. His colleague Dr Roofi (Vikash Bhai) is also his closest friend. Cara (Kathy Kiera Clarke) is a patient with hypochondria, second sight and a heartbreaking backstory. Suzie (Megan Marszal) is the receptionist at the cancer clinic where Jeffrey finds himself a patient. Structured in a series of scenes, each of which is a powerful duologue, the play examines the depersonalisation of people once they become ill. You shouldn’t be patronisingly dubbed a cancer patient (diabetic, asthmatic or whatever). You are a person who happens to be living with one of these conditions – and it’s something which really hits Jeffrey once he becomes ill himself. Dealing with grief – I had to wipe my eyes when Cara eventually comes clean – and facing the truth of death is key to this play. Jeffrey is trying to protect his own wife and children against Roofi’s passionate, angry advice. Most important of all is the way the play argues against assisted death – and, by chance, I saw it on the day the House of Lords roundly rejected the bill to legalise euthanasia in the UK. Jeffrey is tempted to sneak off to Switzerland but is, ultimately persuaded not to. Gillet brings warmth, irritation and total plausibility to the troubled Jeffrey. Bhai is so convincing as a fine doctor and very likeable human being that I’d register with him immediately if his character were real. And Clarke is wistful as the persistent bringer of cake to the surgery – baking represents hope, connection with the past and human interaction – and, at heart, a woman in profound pain. Marszal is terrific as Suzie. She is initially hilariously and stereotypically vacuous, gradually dropping the pose and revealing to Jeffrey what her background actually is – and the truth amazes him as much as it does the audience. And if the contrast doesn’t quite ring true, it doesn’t matter much within the context of the play. Of course this play can only end one way and the discussion between Cara and Roofi at the end is very moving. Matteo Mastrandrea’s simple set works well to support all this. A bright blue desk-like structure and some chairs are whizzed about by the cast between scenes to create three spaces – Jeffrey’s surgery, Roofi’s surgery and the cancer clinic. There were, I sensed, a number of doctors in the audience on press night which meant amused chuckles at, for instance, the reference to the codes doctors used to use before patients were granted access to their own notes. The usefully ambiguous term “heartsink” connoted a doctor sighing in exasperation. Heartsink runs only just over and hour and is well worth catching. Heartsink by Farine Clarke Directed by Sean Turner Riverside Studios 21 April – 10 May 2026 BOX OFFICE https://riversidestudios.co.uk/whats-on/Gg-heartsink-a-bittersweet-medical-comedy/ Photography: Lidia Crisafulli

"A thoughtful and ambitious piece that would benefit from sharper focus" ★★★ In a near-future world teetering on nuclear catastrophe, two stagehands clear the debris of a finished performance while the wider world hums with dread. When a drill interrupts their routine, the play pivots into something more discursive: a probing, often confrontational examination of fear, power, and the uneasy complicity of ordinary people. The production adopts a Brechtian device to disrupt theatrical illusion. The stage is littered with remnants of a previous show, while the actors speak over the audience as they enter the auditorium, dismantling any sense of immersion before it has a chance to settle. It’s an arresting choice that aligns neatly with the play’s thematic core: question everything, especially what you’re being asked to accept. Performance-wise, the piece is assured. Taylor Carmen - also the writer - is commanding and quietly persuasive as Mani, while Gabrielle-Norma Griffin’s Kid brings engaging vulnerability and curiosity. Their dynamic balances playfulness with conflict, though it’s in the gentler moments that the production truly resonates. Most notably, when Mani encourages Kid to imagine freedom for the first time, the play’s ideas land with emotional clarity rather than intellectual insistence. Carmen’s writing is bold in intent but occasionally falters in execution. The structure feels loose, drifting between conversations and philosophical asides rather than building a coherent dramatic arc. While the play raises urgent and relevant questions - about the manipulation of fear by those in power, the cyclical follies of political elites, and the dangers of passive acceptance - it ultimately feels more like a series of provocations than a fully realised drama. There’s no doubt that DON'T PANIC has something important to say, particularly about apathy and individual freedom. However, its message can feel overly circuitous. When the play connects, it does so with genuine poignancy; when it doesn’t, it risks losing its audience in the very fog it seeks to dispel. DON'T PANIC is a thoughtful and ambitious piece that would benefit from sharper focus. It may not offer clear answers, but it asks questions that are undeniably worth hearing. Roman Cowboy Production Presents DON'T PANIC Etcetera Theatre 21-26 April Box Office: https://www.etceteratheatrecamden.com/events/dont-panic-dkmhe-7hltc-m4wgb-rxshj

‘compelling storytelling’ ★★★★ What leads a person to commit an act of violence? That is the central question posed by He Said/She Said, a composite of two pieces: Misconduct, by Dom Riley and Ladkiller by Madeline Goud. Misconduct begins in a police cell, with roguish young football fan Richie recounting the events that led him there. In his cocksure yet endearing manner, he describes setting off on a train journey to an away day with his friends, full to the brim of high hopes and supermarket spirits. However, the boys’ japes soon land them in trouble, and a dark cloud starts to loom over the once-playful mood of the day. What follows is a boisterous exploration of fan loyalty, male bravado, and a thirst for chaos that eventually devolves into devastation. We also see the effects of a slow dissipation of friendship, as life priorities shift and milestones are reached at varying points for different members of the group. Gwithian Evans is the only performer in this piece, embodying the different personas in the story with ease, and sustaining a raucous energy that never falters throughout. Although the instantly recognisable archetypes in the piece provide plenty of comedy through their relatability, sometimes it feels as though the stereotypes are a little too heavy handed, and it would have been interesting to get a deeper insight into the characters in order to further explore their strained dynamic. However, this does not detract from the overarching success of the performance, which perfectly toes the line between humour and gravity. In the second instalment, Ladykiller, the audience is immediately catapulted into the world of a chambermaid who is quite literally still reeling from stabbing a guest at the hotel where she works. Bloody and trembling, she recounts the moments leading up to the brutal attack. This soon transforms into an impassioned diatribe about all that vexes her, from the frustration at the larger social systems governing her life circumstances, to the dull minutiae of minimum wage work. As she ricochets between these topics, it’s not always easy to follow her train of thought, and sometimes the point she’s making becomes a little clouded. However, these moments are only fleeting within the overall pace of the performance, which is delivered with thrillingly dark intensity by Geebs Marie Williams. Like Evans, she carries the piece solo, but we witness brief flashes of other characters in her life to illustrate what led her to such an extreme act. No detail is spared in this grizzly, gruesome confessional and although undoubtedly a sadist, the character is incredibly captivating, witty and has the audience in her thrall the entire time. The set is incredibly sparse, with only an outline of what resembles a serrated blade looming ominously in the background, allowing the audience’s imagination to do most of the work. Lighting is used to masterful effect, emphasising the glistening eyes of the performers, and perfectly conveying both the slow creep of dread and the red-hot bloody panic that both characters experience. The two pieces were not originally written to accompany each other. Emerging as separate entities, with Misconduct first performed in 2013 and Ladykiller in 2014, they have been stitched together thoughtfully by director and producer Claire Evans. Indeed, the two central characters exist in very different worlds with no direct reference to each other, but by placing these side by side, the audience is given the opportunity to draw their own parallels and comparisons between the two. Both monologues provide a background to committing their respective acts of violence, offering different perspectives on the rationale behind it. Neither piece justifies the act straightforwardly, and we get the sense that neither narrator is entirely reliable in their version of events, preventing an easily digestible didactic from being imposed on the piece. Perhaps owing to the age of the pieces, some of the references felt a little dated, though there were also references to more modern fixtures such as TikTok, which made it a little confusing to place where the pieces existed in history. The two performances might have benefited from committing to either being fully updated for the present day or cementing themselves firmly in the past as (recent) period pieces. Overall though, the structure of He Said/She Said as a double bill proves to be a successful one, as the characters in each piece are given free reign to completely command the stage, locking the audience into their individual perspectives. This approach lends itself well to the intensity of the drama, resulting in a one-two punch of incredibly compelling storytelling. Misconduct was written by Dom Riley Ladykiller was written by Madeline Goud Both pieces directed and produced by Claire Evans Production Artwork and Photography: Yuchu Zhao Lighting Direction/Technical DSM: Marta Fossati Production Assistant/ASM: KAZUE HORIMASU Design: David Fitzhugh He Said/She Said is at the White Bear Theatre 24th April to 2nd May 2026 at 7:30pm Box office Cast Gwithian Evans as Richie in Misconduct Geebs Marie Williams as Her in Ladykiller