REVIEW: MACKEREL THURSDAY by Agents of Chaos Theatre at The Old Red Lion Playhouse 9-11 April 2026

“At its strongest, the tension finally crystallises into something genuinely menacing.” ★★½

MACKEREL THURSDAY, the third play by Malcolm Webb, is an ambitious foray into Theatre of the Absurd, with clear echoes of Harold Pinter and Samuel Beckett. Set in a claustrophobic flat governed by a lengthy list of rules dubbed the “constitution,” it explores control, submission, dependence, and resistance.

Nancy (Webb) presides with unnerving authority, while George (Christopher Cox) and Cam (Aoife Moss) begin to push against his rigid system, ostensibly in place to keep them safe. As the balance shifts, so too does Nancy’s grip, steering the trio toward a tragic conclusion.

The confined setting and strict rules create a world that feels both controlled and precarious. Much of the play operates at a heightened pitch, sustaining a constant pressure that, while effective, becomes one-note. In Absurdist work, tension often derives from contrast - silence, repetition, and tonal shifts - so greater variation here would give the piece more shape and make its escalation more impactful.

Hints of backstory, particularly around Cam and the origins of the “constitution,” are sparse but intriguing. However, one passage of exposition - delivered while Cam shoots at imaginary mice with her hand as a gun - feels overt and slightly affected.

Christopher Cox anchors the production with a grounded, compelling performance, while Aoife Moss captures Cam’s vulnerability with conviction. Webb establishes Nancy’s dominance clearly, though the performance leans heavily on volume and intensity, with limited variation. Aside from a moment of softness when Cam threatens to leave, this lack of nuance flattens the character’s dynamic and makes the central relationships harder to fully invest in.

The design is simple but effective: a domestic set with a misdemeanour chart reinforces the sense of control, while stark lighting and intrusive sound design create an off-kilter atmosphere. Under Alec Osborne’s assured direction, the action remains fluid throughout.

MACKEREL THURSDAY is at its strongest in its final moments, where shifting power dynamics introduce a sharper unpredictability and genuine menace, and the tension finally crystallises.

The extended running time also works against the piece. At 90 minutes, the sustained intensity begins to wane, with limited development beyond repeated antagonism between the central characters. A tighter structure - closer to an hour - would sharpen the tension and better sustain audience engagement.

An ambitious piece with a compelling conceptual foundation, MACKEREL THURSDAY shows promise. With greater tonal variation, a more nuanced characterisation of Nancy, and a tighter structure, it could fully realise its potential.

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