REVIEW: 2.36 at Circle & Star Theatre 8 – 10 September 2026

‘a recognisable satire of the ultra-rich’ ★★★

The number ‘2.36’ is associated with the size of the average UK family, an interesting namesake for a play that is about a distinctly not average British family. At nineteen and twenty years old, Josh and Kiera “Kiki” Carrington have only ever known a life of immense privilege thanks to their grandfather’s real estate empire. Grandfather’s status casts a large shadow over the play, much like their lives. Tonight, the siblings have been reunited in Luxembourg, their father’s birthplace, for a family business-meeting-cum-holiday. At least, that was the plan. Now faced with the evening alone, Josh and Kiera must instead face each other, the nature of inheritance, and their own personal responsibility.

What follows is an hour of family debate surrounding the roles of gender, legacy, obligation, and expectation regarding their respective birthrights. A disagreement over their Luxembourgish roots is the first indication that Josh and Kiera have clashing worldviews. Josh feels a deep connection to a country of people he praises with a host of adjectives like ‘well-bred’ to avoid the one he really means: ‘wealthy’.

Kiera, on the other hand, is ashamed to think their family history is tied to local tax laws that allow the global 1% to hide funds and exploit developing countries. This one dispute proliferates into non-stop disagreements about the world, capitalism, and their own relationship. Through these conversations, 2.36 condemns the hypocrisy and insidiousness of virtue signaling as much as the selfish greed and evil of economic conservatism.

Unfortunately, the lack of detail in the script means this critique falls somewhat flat. The scope of the family’s wealth is unclear, as is the nature of the financial dealings that are only obliquely referenced. The family’s wealth seems to have no practical bounds, yet Josh’s insecurity compared to those with greater affluence is a critical plot point. Inconsistent details are invoked to serve the script’s purpose at any given moment more so than to reflect a well-established outside reality and family history.

2.36 is a recognisable satire of the ultra-rich and Josh and Kiera are recognisable characters. They bear striking resemblance to the Roy siblings in Succession as much as the Rose siblings in Schitt’s Creek. They share the same sarcastic combination of intellectual self-awareness paired with the complete delusion of the entirely out-of-touch. 2.36 succeeds in finding its genre and is most memorable for its humour. The jokes on the page are brilliantly brought to life thanks to exceptionally winning performances from both Anoushka Cowan and Elijah Lifton.

Still, without anything to do or characters to interact with - save one off-stage waiter who provides desired comedic fodder - Cowan and Lifton can only go so far. Their characters feel frozen and the audience never learns about the siblings via their encounters or as they move through the world. Our understanding comes entirely from what they themselves tell us, which remains unsatisfying. Josh and Kiera articulate traits and dynamics we do not see.

The script suffers from a lack of plot and action. Information is revealed with the same ‘tell-don’t-show’ dialogue. The waiting that provides the engine for the play could be the ideal backdrop for a transformative night, but instead fosters an experience of stagnation.

Given the short run-time, 2.36 never drags, despite the lack of action. Rather, it maintains its laugh-out-loud comedy throughout. It is entertaining, if inconsistent. Some moments feel aimless, others feel laser-focused. 2.36 is clear in its intention and is an open invitation to laugh at the delusions and narcissism of the most highly privileged, a humour that can be satisfying or grating depending on the audience.

Marigold Productions presents 2.36 at Circle & Star Theatre in Hampstead through till 10 September.

BOX OFFICE: https://www.tickettailor.com/events/circleandstar/2267745

Written and produced by: Anoushka Cowan and Elijah Lifton

Directed by Guy Rapacioli and Jessie Millson

Dramaturgy by: Ruby Isaacs

Sound design by: Belle Bao

Costume design by: Izzy Rigby

Presented by: Marigold Productions

Patrons: Richard Bean & Anna Ziegler