Reviews

'A musical of two halves: solid but uneven' ★★★ One word is elegantly scrawled in bright pink lipstick on the backdrop for the new musical in the faded splendour of Wiltons, London’s oldest music hall. Ruth. One assumes it’s the real thing, practiced to perfection like everything else in Ruth Ellis’s self-invented life from her rewritten history to her cut-glass accent and Hollywood-inspired image. Ultimately, she practiced firing the hand gun that would pump three bullets into her lover, David Blakely. At 28, with two children, she would hang, becoming the last woman hanged in Britain in 1955. Despite the definitive noose around her neck, this was not a resolution that explains why so many dramatic works have been inspired by her story. Perceived injustice, class and gender bias and undisclosed evidence at the trial have left many unexplained gaps that art has sought to fill. Only last year, ITV screened, A Cruel Love: the Ruth Ellis Story and there are some crackers in the film canon including Yield to the Night (1956) and Dance With a Stranger directed by Mike Newman with Miranda Richardson and Rupert Everett (1985) Now Ruth The Musical directed by Andy Morahan and Denise Silvey adds a medley of songs to the tragic life of Ellis. The book by Caroline Slocock, with music by John Cameron, Francis Rockliff and James Reader, runs at a hefty two and a half hours with an interval. Topped and tailed with documentary footage projected onto the back wall of newsreels—crowds, protests, news headlines—we are reminded this is a real story and the first song, where the entire cast of 11 sings in chorus to rhyme ‘Ruth’ with ‘Truth,’ promises this production will deliver it. We soon work out there are not one, but three Ruths on stage. There’s dowdy and drab working class Ruth, silently played by Me-Li Yap, with a father who sexually abuses her. Here her dreams of escape are hatched. Then there’s Ruth in her heyday, as manager of an upmarket Knightbridge bar, where her duties include sex work with the professional clientele. This is where Hannah Traylen gets to pout and wiggle a lot. Then there’s Ruth in her cell, on stage throughout the performance, often in shadow, awaiting her fate. With her peroxide blonde hair, a £5 silk dressing gown from Harrods, and an impressive voice, this is Bibi Simpson’s promising debut. The use of time is fluid with flashbacks to Ruth’s deprived background with a father who is both distant and predatory. We move into glittering, glamorous times at the cocktail bar: her abusive love affair with posh boy, Blakley (played by Connor Payne, a feckless, louche type), and her on/off relationship with Desmond Cussons (solidly played by John Faal), who, besotted by Ruth, supplies the gun and teaches her how to use it. This melange of memories makes up the dramatic action as Ellis describes her life to Albert Pierpoint, the man who will execute her. The first half finishes with the murder, and while covering much narrative ground, feels expositional, familiar and a little superficial as we skim over key characters and moments. Sometimes with musicals, the second half struggles to match the energy of the first half. Here the converse is true. The second half, which covers the court proceedings and her time in the cell leading to the execution, is the most memorable with greater emotional depth. The cocktail bar behind which she once served becomes the dock in which she stands on trial. It’s where we start to see and feel the ‘real Ruth' as opposed to her practiced affectations. What’s most unexpected, and the USP of this musical is her relationship with Albert Pierpoint, her hangman. We are delivered a nuanced portrayal from Ian Puleston-Davies, all Northern vowels and heartfelt empathy, as he offers her wine gums and reflects on his own life and choices. On reflection, focusing the play on this second half would have made it more original, structurally stronger and narratively tighter. Musically, there are some terrific singing talents with some standout performances from the male cast. While we don’t get to understand much of Blackley, his portrayal is that of a two-dimensional villain; he has a beautiful sonorous voice. Desmond's unrequited love translates through Faal's deep and moving baritone but the best is when Pierrepont & Ellis sing a duet. “We have only now.” While many of the numbers sound like a wedding band and are sadly instantly forgettable, there are a few winners. The song and dance number about the hypocrites of the law—judges and barristers who frequented the types of bar Ruth worked in and who now sit in judgement over her life and death—earned spontaneous applause from the audience. Ruth the Musical should also be commended for its respectful conclusion, there is no grisly hanging. Instead, there is space for the audience to reflect on and honour the memory of this maligned woman. Ruth The Musical 18 - 28 March 2026 Denise Silvey as RUTH Wilton's Music Hall, 1 Graces Alley, London E1 8JB BOX OFFICE Photography: Charlie Flint Music: John Cameron, Francis Rockliff & James Reader Lyrics: Caroline Slocock & John Cameron Book: Caroline Slocock Director: Andy Morahan Designer: Nicolai Hart-Hansen Producers: Denise Silvey, Caroline Slocock & Mark Thomas

“ Arthur and Marilyn is a fantastic example of what can be accomplished when two excellent actors are put on stage with a clear story to tell” ★★★ Despite Marilyn Monroe’s enduring status as one of the most recognisable celebrities and symbols in popular culture, few references to the blonde bombshell include mention of her five-year marriage to the playwright Arthur Miller. Similarly, though Miller remains one of the most celebrated American playwrights of the 20th century, his romance with Monroe is but a footnote in his legacy. Arthur and Marilyn is a rebuttal to the cultural amnesia that has left their romance lost to time. Steve Barker’s 90-minute play tells the story of Monroe & Millers’ relationship from their Hollywood introduction through their 1961 divorce and suggests that our cultural inability to reconcile their relationship against their incongruous reputations and roles in our collective memory just might reflect the paradoxical reality of the relationship itself. Arthur and Marilyn paints young Monroe as a wide-eyed actress with a youthful excitement and desire to be taken seriously. Her character is subsequently pushed further and further into the depths of her drinking as she experiences the loss of control over her life and body. Her mental health worsens as she struggles against a world dominated by men who both trivialise and exploit her. For Monroe, intellectual Miller is an opportunity to be taken seriously by association and to experience male protection over abuse. For Miller, Monroe represents the ideal of mainstream America at the precise time that his American-ness and assimilation as a Jew is in question. Arthur and Marilyn does not suggest the two were not authentically in love but, rather, that the very differences that attracted them to each other would become their eventual undoing. Barker’s script is, of course, fictional. Though it is based on real people and events, the play does not purport to meet journalistic standards. Nevertheless, it is notably sympathetic and arguably biased towards Miller. Arthur remains the voice of reason throughout the play, but his rationality becomes increasingly mythologized against entirely irrational Marilyn. In Arthur and Marilyn , Marilyn’s growing erraticism is attributed to a downward spiral induced by mental health struggles and alcohol abuse. In one of the couple’s happier moments, Marilyn summarizes her tragic childhood, presumably as context for the portrayal to come, but sympathy to her character does not feel genuine. Though there is a small attempt to substantiate her paranoia as a symptom of the patriarchy - it is clearly intentional and representative that the sole person Marilyn comes to trust is the sole female character in her orbit - Arthur and Marilyn fails to humanize Marilyn’s struggles beyond sexism and the oblique concept of stardom. We are allowed to empathise with her role as a sexual object and cultural obsession, but no further. By contrast, Miller is almost above reproach. He’s portrayed as a near-saintly husband, succumbing to Marilyn’s irrational whims, despite his greater intellect and unassailable morals. Daisy Snelson and Marcus Churchill deliver exceptional performances as Marilyn and Arthur, respectively. Churchill is entirely believable as an erudite playwright with a sense of humor and politics that landed him on the politically right side of McCarthyism. His likeability is probably at least partly to blame for the too-easy likeability of his character. Snelson, as well, manages to deliver an effervescent and powerful performance of a character who would likely come off far less sympathetic on the page. Snelson’s Marilyn is charming, innocent, shy, arrogant, sad, vivacious, right, wrong and human, something Marilyn Monroe rarely gets to be. The show also features excellent direction by Sarah Paterson. The performers manage to tell the entirety of Arthur and Marilyns’ story using just a few stage cubes and two liquor bottles. Music is expertly employed to evoke 1950s New York City and costuming is genuinely transformative. Snelson brings Marilyn to life in both performance and look. Unfortunately, though the play recounts the facts of Marilyn and Arthurs’ story, it does not justify its significance. Much like Love Story, the Ryan Murphy-produced series based on the real-life romance of JFK Jr. and Carolyn Bessett currently airing on Netflix, Arthur and Marilyn is a window into a largely untold but significant historical love story. Both Love Story and Arthur and Marilyn feed our human hunger for celebrity scandals and ‘authentic’ behind-the-scenes looks at the private lives of the rich and famous. Unfortunately, both pieces of work lack clear commentary or connection between their histories and our present. In Arthur and Marilyn , connective threads between McCarthyism and contemporary American politics, for example, remain unused. Nevertheless, Arthur and Marilyn is a fantastic example of what can be accomplished when two excellent actors are put on stage with a clear story to tell, sans gimmicks. The show’s 90-minute run-time flies and audiences of all ages, with any level of familiarity with the real Marilyn Monroe and Arthur Miller, will be thoroughly entertained. 17–21 March 2026 The Lion & Unicorn Theatre, Kentish Town. (42-44 Gaisford Street, NW5 2ED) Tickets: £15 / £13 concessions Book now: https://www.thelionandunicorntheatre.com/ Photography: Wesley Anthony

‘great chemistry between the actors and thoroughly entertaining’ ★★★ ½ A thoroughly enjoyable performance, Waiting for Hamlet, a comedic extension of Shakespeare’s pre-existing play “Hamlet”. When the performance first started, the scene of Hamlet's death played off the classical elements of comedy. The many witty remarks to the original Hamlet and dramatic death, followed by the many failed attempts to poison Hamlet create a very simple comedic plot, that is easy to follow. The 70-minute performance, does not drag and has perfectly timed comedic moments to keep its audience entertained. Tim Marriott, who also starred in The Brittas Empire, plays the role of old King Hamlet, a royalist character who embodies theatrical moments of speech and is criticised for his old-fashioned royal methods by his fool. Nicholas Collett, who has performed for the Royal Shakespeare Company, plays the role of the fool, whose position juxtaposes with his role as he guides the king on his travel out of the ghostly field. Both actors show great chemistry on stage, bouncing off each other’s characters and harmonising perfectly for the audience. The costumes of the characters were simple yet effective. King Hamlet wore a simple royal outfit of yellow and grey, complementing his crown. The stage mise en scene was subtle, consisting of only a chest and two boxes, both characters were able to make the most of their set and perform without a lack of imagination. Waiting for Hamlet is a seemingly low-cost production that embodies many of Shakespeare's undertones while staying in a modern form, a well-educated yet hilarious performance, not only for fans of Shakespeare. A thoroughly enjoyable performance, with great applause awarded. The pub attached to The Tabard Theatre has a charming beer garden at the entrance to the theatre. With tickets from £19.50, the performance is well worth its price if you are a person of interested in classical comedy. Waiting for Hamlet, is a timeless piece of theatre. Waiting For Hamlet by David Visick, Tabard Theatre, 18 March- 4 th April Take Note theatre /Smokescreen productions BOX OFFICE A Shakespearean comedy by David Visick Directed by Tim Marriott Performed by Nicholas Collett & Tim Marriott

‘Mysterious, uplifting and hopeful’ ★★★★ Two women who have been married to the same man, it doesn’t sound like a recipe for much love, but the pair were best friends at one time. Now in their later years, they are reunited in a hotel lounge at the dead of night, under mysterious circumstances. The back story begins to unfold, drip fed throughout the show until the effecting denouement and the electric final line. It wouldn’t be fair to give away the story as this is something that audiences need to discover for themselves. However, there is much else to say about the show. If it starts with a nod to Beckett’s Waiting for Godot, and feels as though we are in absurdist territory, this is not quite the case. It contains elements of the supernatural in a positive way that is quite uplifting and hopeful. Actors Jilly Bond and Bryonie Pritchard bring very individual characterisations for these two women, whose lives have clearly diverged, one is now a phd researcher in a medical field and the other a creative person. This is clearly a difficult reunion for the characters, but piece by piece a change occurs between them. Two expertly judged performances under the finely tuned direction of Matthew Parker. Perhaps the most impressive part of the show is the sound design by Andy Graham which is supported by collaborative lighting design by Abigail Sage. The sound has to work very hard to add the unsettling element and supernatural element in the play. Also central to the design is a window (set designer Hannah Williams) which opens onto the street, where a fox is vocalising with howls and barks. This central image becomes very important to the story and is rightly highlighted as an eerie element, not to be overlooked. It’s a strange play, and likely to be enjoyed by those who like a mystery and to be made to think. It’s beautifully achieved and clearly much consideration has gone into the best way to bring the supernatural elements of the piece to an audience, who probably don’t believe in other dimensions but will be willing to suspend disbelief. The Dawn of Reckoning White Bear Theatre 17th - 28th March 2026 Box Office The Company  Cast: Jilly Bond and Bryonie Pritchard ​ Mark Bastin: Writer Abbie Sage: Lighting Designer Matthew Parker: Director Andy Graham: Sound Design Hannah Williams: Set & Costume Design

‘Ambitious, Intelligent & Funny’ ★★★★ Truly the luck of the Irish. The day after a fairly hefty St Patrick’s Day I am obliged to return - at midday no less! - to my very favourite London pub to see what I believe to be their first foray into pub theatre. Really not a stretch for me but it’s a delight to see the remarkably pristine pub packed with punters to see Declan Duffy’s meditation on what it is to be an Irish Londoner in 2026. We start with a history lesson from the 12th century and Duffy goes onto to explore Irishness abroad using his own experience as the catalyst for a smart exploration into why there continues to be an influx of Irish folk into England despite the tensions that continue to exist. Duffy’s background is somewhat ‘traditional’ - his parents whom I was delighted to later meet ran a pub in Cavan - raffle and all - until love and hope led him to, of all places, Devon. He is clearly steeped in Ireland and its history, often troubled, and whilst his touchpoints are all what you might expect (Drink! Music! Politics!) the show never settles for the obvious and all stereotypes are challenged and discussed. Indeed, Duffy is a beguiling presence dropping in a tune or two on the guitar (even a bit of Ralph McTell which was welcomed) and also propping up his makeshift bar. The first 45 minutes or so fly by and the mix of historical and personal context works really well. There is an un-necessary interval - clearly done here so that the audience can get to the bar as usually the show runs straight through - and the second half, for me, loses some momentum and becomes a bit of a tick box of Irish culture. Still, the humour comes more to the fore and the Skehan’s crowd love it and anyone who mentions two great lost bands (The Four Of Us and The Stunning - look them up) is fine by me. Duffy though is fundamentally a serious, thoughtful guy and he brings things back to ask questions around identity, belonging and the future of the Irish abroad. For me the best shows are playful and optimistic, but with a hint of the troubles of the past ‘controlling’ the now and the future. We get that here. What’s best is that the show resonates with its universal themes - particularly here in London - and Duffy doesn’t shy away from asking difficult questions of us all. Skehan’s in Nunhead is a great, great boozer and kudos to Brian and Kasia for taking a bit of a punt and putting on a theatre show the day after the night before. I hope they do more. And fair play to Declan Duffy for a show deserving of greater, wider things - it’s ambitious, intelligent and funny - like the Irish people themselves.  Instagram: @call_yourself_an-Irishman

‘Flamboyant, chaotic and colourful, everything not to expect in an emo apartment.’ ★★ 1/2 The plot consists of two strangers, one storm and a story that possesses no logic or normality, a dark horror comedy with an emo flatmate and a cheerful Canadian girl, as well as the cat who strikes jealousy between the flatmates. An interesting and unique concept with an oft times maximalist approach that sometimes apprehends the plot of the story. Two contrasting roommates who jump around, burst into song and find a common love interest for the Sex Pistols, flamboyant, chaotic and colourful, everything not to expect in an emo apartment. Although arguably, this is counterbalanced by the break of the fourth wall, the approach is unstructured and performative, building-up to the end while working with the surrounding audience. The comedic homodiegetic narrator who is also characterised as Dracula and his constant presence breaks from narrating to being within the play. The set is very minimal consisting of a sofa and a plush cat. However, the mise-en-scene is prominent in the way lighting is used. Unlike the usual use of lighting to show emotion, it has been used to make dramatic outbursts of energy in the form of dance, further adding to the chaotic performance. The anarchic performance holds a very original element of surprise for the audience. Lucy Mynard, who plays the role of the emo flatmate, embodies her character with monotone facial expressions and black outfit ensembles, whereas her Canadian roommate, played by Emma Wallace, uses comedic and happy facial expressions that contrast with her roommate. Although certain scenes feel relatable in certain aspects, the plot of the performance does not feel apparent; they are roommates, but what else? The performance has no real plot, and when the performance ends, there is little progress within the storyline. Unlikely: in a building with a broken lift has a lot of potential; however, it still has a lot of progress to make. The venue, barons court theatre, is a very charming location, the theatre is downstairs, in a small cosy performance space ideal for the short 50 minute performance of this show. When the play ends, there’s the chance to go for a pint or two in the lovely pub which has great charm and a lovely atmosphere. Recommend viewing for a night full of laughs and cheap entertainment, with tickets being only £17.00. UNLIKELY: IN A BUILDING WITH A BROKEN LIFT by Emma Wallace and Lucy Mynard Presented by Dippy Egg At Barons court theatre 17- 21 March 2026 BOX OFFICE https://www.baronscourttheatre.com/unlikely

‘Opening night reminds us exactly how much we love sketch comedy’ ★★★★★ Opening night at The Hen and Chickens Theatre in Islington, saw stellar performances from established sketch show artists from both venues. It was a taste of what is possible with hard work and more than a touch of genius. The brand new SKETCHFEST is the brainchild of two Artistic Directors, Emma Taylor at Canal Café Theatre and James Wren at The Hen and Chickens Theatre. Both mourning the loss of the Sketch show whilst looking into the bottom of their beer glasses, they had a bolt of inspiration, instead of thinking of it as a dying art, why not kick start it for 2026. The result, is a competition with each act performing their set at both venues. At the end of the festival, three chosen finalists will each perform 20 minutes of sketches in front of a guest judge. Emma and James were delighted with the overwhelming response from theatre companies, and so the future looks very promising indeed. Coming back to the opening night which was presented by the two of them along with Festival producer Cicely Wellstead, they had us laughing even before the first act appeared. It was an absolute treat to see these engaging and uplifting top quality sketches. Starting with Canal Café’s very own Jonny Brace and the team from NEWSREVUE. Jonny is an old hand at NewsRevue as both performer and Musical Director but on this occasion, he presented a guitar themed sketch of his own, beautifully warming up the audience for what was to follow. NewsRevue which runs three nights a week at the Maida Vale venue, astonished everyone with their tipple threat skills under the Musical direction of Emily Huxter. Not only are they superb singers, but the political sketches are very amusing. Georgia Harris proves herself to be extraordinarily talented, not only possessing exquisite vocals, she’s also a writer - she has contributed to NewsRevue – and she’s also a director. Michael Stafford-Wells and Olly Adams gave an extremely precise sketch of Putin amusingly rambling on whilst Zelensky performed an energetic comedy dance routine. Finally in this section, Kathryn Pridgeon and Kitty McNeil presented a feminist sketch, with a killer punchline. Following this, it was the turn of The Hen and Chickens Theatre. It presented the return of THE PROS FROM DOVER, ‘now back together, more exciting than Oasis’. Simply hilarious, and still relevant. Richard Glover was Jesus, now sporting a paunch ‘the food is delicious up there’, he’s a ‘bit disappointed with the meek’. Hugely irreverent, he draws the audience in and pokes fun at bizarre sexual practices, ‘we can see everything that you’re up to’. The other pair who make up the threesome, are Phil Whelans and Neil Cole who gave us a cleverly constructed and brilliant sketch about the Hadron Collider. Playing with time, science fiction and comic delivery superbly. Also from this trio, a sketch of football supporters (they all had a shouted opinion … of how to put on makeup) and a German driving test – probably my favourite sketch of the evening. The after party was also much fun, an opportunity to talk to some of the upcoming acts who are taking part in the festival. Four young female graduates form ‘SYNCING’, a parody of NSYNC, focusing on the band's struggles after the departure of Justin Timberlake. FORCED RHUBARD are a more experienced troupe, who have already had a five star review for their comedy: ‘Mind-blowingly brilliant… the talent displayed by this group is out of this world’. BISCUIT BARREL promises to entertain you with 69 biscuit related sketches in one hour. Not possible? There’s only one way to find out. There’s plenty more to see as the festival which runs until 29 March so you can join in the fun. But will you pick the winner? The full line up and the box office can be found on the relevant websites here: SKETCHFEST at THE HEN AND CHICKENS THEATRE in Islington https://www.unrestrictedview.co.uk/ SKETCHFEST at CANAL CAFÉ THEATRE in Little Venice https://canalcafetheatre.com/our-shows/ Photography by CaiMG Photography Top of page: The Pros From Dover Above: NewsRevue

‘Thoroughly excellent show – high energy, great story telling, convincing character arcs’ ★★★★ Lindsay is a fifteen year old with two passions – bass heavy House music and the secret beauty of the city of Doncaster, the Las Vegas of Yorkshire. Her dad was a raver in his day and thinks Lindsay’s nocturnal adventures with her best mate Jen are great evidence of his daughter’s awesomeness, and requires closing a parental eye to clubby drug consumption and casual sex. The story of Lindsay and Jen growing up, getting hurt, falling apart, making up, is told with frenetic energy, forensic observation, and pawky humour by Danielle Phillips, who wrote the play and acts the part of Lindsay. The set is a multi-level playground festooned with snaking day-glo disco lights and pulses with the music at the same time as becoming the twisting streets and chip shops of downtown Doncaster, and does it extremely well – the movement is compelling and compulsive, Danielle Phillips and Charlotte Brown (as Jen) are convincingly making long walks and desperate taxi rides in a very tight space. The designer Hannah Sibai deserves high praise for providing such an effective context for the non-stop action. This is a thoroughly excellent show – high energy, great story telling, convincing character arcs. It even makes a reviewer from Hull reconsider the wonders of Doncaster. CHILDREN OF THE NIGHT Southwark Playhouse 11 March – 4 April 2026 BOX OFFICE Written by Danielle Phillips Directed by Kimberley Sykes  CAST: Danielle Phillips as Lindsay, Charlotte Brown as Jen, Gareth Radcliffe as Terry, Luke Broughton as Voice of DJ Don Producer: Lauren Yvonne Townsend Set and Costume Designer: Hannah Sibai Sound Designer and Composer: Ben mcQuigg Lighting Designer: Jessie Addinall Movement Director: Jennifer Kay Photography credit: Marc Brenner

‘A beautifully realistic delve into the social care system, through a touching and gripping story of family and belonging.’ ★★★★★ ‘KID SISTER’, by Owen Lloyd Richards and directed by Adam Laboda follows the story of Shell, young and fiery, as she desperately tries to reconnect with her sister, after being split up by the Welsh social care system when she was still a small child. Shell is now 21 years old and has been waiting all her life to meet her sister Natalie who is turning 18 at any moment now. Nat has been living with her adoptive parents, a well-off couple, while Shell was moved from one foster home to another, and was denied to ever meet her sister. Geri McNamara, who embodies Shell, is truly incredible. She is fierce, angry, and conquers the stage with her harsh sense of humour. She moves with great ease on stage, her eyes filling with stars when speaking of her sister. Her chemistry with Ceri Gifford, who plays Christine – Shell’s foster carer – is captivating and incredibly playful. This duo of ‘the brat and the junky’, as Christine jokily calls them, feels so real, and the love that they undeniably have for each other - their ‘chosen family’ - is sincerely touching. On the other hand, Natalie, played by Megan Keaveny, is the opposite of Shell. She is introverted, unsure of who she is and hesitant to meet her sister, and what that could mean for her. Besides, they are living in different worlds now: Shell has been brought up in a working-class environment while Nat has lived a much more privileged childhood, and is soon planning to leave for university. Finally, the character of Mark, played by Mark Rush, carries out impeccably his role within the play, as the social worker in charge of Natalie. The energy on stage was constantly electric. The characters are perfectly written, detailed, full of humanity and played out with astonishing authenticity from the four actors. Under the brilliant direction of working-class director Adam Laboda, each of the character’s emotional journey, filled with themes of grief, recovery and love, are gut-punching and heart-warming at the same time. The tension is palpable and rises all throughout the play as Owen Lloyd Richards keeps us entertained with his clever writing and multiple plot twists. His singular depiction of the flawed social care system is a true masterpiece in social realism.  KID SISTER By Owen Lloyd Richards, directed by Adam Laboda Produced by The Bread & Roses Theatre Company BOX OFFICE https://www.breadandrosestheatre.co.uk/whats-on.html Cast Shell - Geri McNamara Natalie - Megan Keaveny Christine - Ceri Gifford Mark - Mark Rush Voiceover (Anne) - Kiri Pritchard-McLean Creatives Light & Sound Designer / Stage Manager - Valentin Burwell Set & Costume Designer - Constance Villemot Production Assistant - Chin Cool Social Media - Amy Cotter Produced by The Bread & Roses Theatre | Velenzia Spearpoint & Rebecca Pryle Photography credit: Lily Barrett Photography