Natural Causes

My expectations for a beautifully crafted set were met the moment I walked in. The space felt instantly familiar — a cosy, unmistakably masculine study or library — with that wonderful wall of book‑patterned wallpaper giving it a lived‑in authenticity I really loved. The deep green panelling and those soft, glowing globe lights created a warmth that made the whole room feel inviting rather than imposing. The little touches made me smile too: the working ‘electric’ log burner, the elegant furniture, all of it coming together to create a sense of quiet luxury. And those French doors — opening out onto a burst of colour in the garden — weren’t just decorative. They became part of the story in a way that felt natural and genuinely satisfying to watch.

This black comedy had me laughing far more than I expected, and that was entirely down to a cast who were clearly well‑rehearsed and completely in sync with one another. The pace was so sharp and the timing so precise that the one‑liners landed with a lovely, effortless rhythm — sometimes so quickly they almost caught us off guard. What I really appreciated, though, was how evenly the humour was shared out. In so many comedies there’s a designated ‘butt’ of the jokes, but here everyone got their moment to shine. It felt refreshing, generous, and all the funnier for it.

The five cast members were perfectly matched to their roles. Rhys Cowsill, as the philandering husband Walter, was a particular delight to watch. His decision to hire Exodus — a company that sends someone to ‘help’ those who’ve chosen to end it all — sets off a chain of events that should have been dreadful, yet somehow became irresistibly funny. Rhys handled that delicate balance beautifully. One moment he was the seemingly caring husband plotting to be rid of his wife, the next he was the scheming adulterer dreaming of a glossier life with his secretary, Angie. He took us with him on every twist and turn, and I found myself completely caught up in his rollercoaster of shifting loyalties and emotions.

Angie was played by Jackie Phillips, and she absolutely shone in the role. Her characterisation was spot‑on, and the way she used her facial expressions to lift the comedy made her scenes a real treat. One of the standout moments for me was the exchange between Angie, Walter and Celia as they calmly — and hilariously — discussed Celia’s imminent death. The three of them delivered the rapid‑fire lines with such sharpness and confidence that the whole scene felt effortless, perfectly timed, and wickedly funny.

Jane Bovell had a wonderful role as Celia, the wife who has calmly decided it’s time to end it all — and, in her own peculiar logic, believes it would be best if Walter joined her. Her unwavering assumption that he adores her and couldn’t possibly cope without her was delivered with just the right touch of superciliousness, and I’ll admit it had me briefly siding with Walter’s rather drastic solution. But then she softened, showing genuine concern for her husband, and my sympathies swung right back to her. Jane balanced those contradictions so deftly that I found myself shifting with her from moment to moment, completely drawn in by the complexity she brought to the role.

Jim Newcomb had the delightful role of Withers, the Samaritan summoned by Walter, and he played it with such charm that he quickly became one of the unexpected highlights of the evening. His wonderfully blundering manner felt just right, and the way he slipped his name into the conversation so naturally was comic gold. His confusion, his mounting exasperation, and his earnest attempts to simply “do the Samaritan thing” were all beautifully pitched. We couldn’t help but feel for poor Withers — a man trying so hard to be helpful while the scenes around him descended into chaos.

Phil Field was in his element as Vincent, delivering a commanding performance from start to finish. He brought out every facet of this slightly creepy, quietly sinister yet unexpectedly compassionate character with his own unmistakable style. His delivery was clean and crisp — dare I say completely natural — and the way he switched glasses, dispatched the pot plant (the only thing to die in this production), and calmly talked himself out of an assignment was handled with such deft, understated authority. It was an absolute pleasure to watch him work.

The ending was one I genuinely didn’t see coming, although with hindsight it was probably the only way this black comedy could have wrapped up. I’ll admit, a part of me felt a little robbed of the happy ending it seemed to be steering towards — but c’est la vie, that’s show business. Sometimes the twist you weren’t hoping for is exactly the one that makes the whole thing linger in your mind afterwards, especially his final words “My God, I can smell Fried Rice”.

Thank you, Phoenix, for another excellent production.

Louise Hickey. Regional Representative, District 1

In my role as Regional Councillor for NODA West Midlands, it is always a pleasure to accept invitations to productions across the region, albeit a different performance to Louise’s.

It has been some time since I last attended a performance at the delightful Phoenix Theatre, so it was a particular pleasure to return and see Natural Causes. I understand it is exactly 20 years since the society last performed this play.

I was pleased to meet Renee Field, the show’s director, throughout the evening. She was clearly — and rightly — proud of her team. I was also honoured to speak with fellow audience member Cherry, one of the society’s longest-standing members.

As for the cast, Louise has already provided a detailed description of the characters and their portrayals. The play is billed as a black comedy (dark comedy), drawing humour from uncomfortable and at times shocking situations, including assisted suicide. There were some excellent one-liners, several of which were also highlighted in the programme. These were well chosen and memorable, such as the references to cords and “having cold feet” as a sign of the poison taking effect.

Louise has also described the excellent set and furnishings; congratulations go to the design and construction team. The props were consistently well handled throughout, and I always appreciate realistic touches on stage, such as convincingly poured drinks and appropriate measures.

A particular mention must go to Jackie Phillips, who appeared to work some sort of magic on the rubber plants, which gradually became more “unwell” as the play progressed, and the effects of the poison took hold.

On leaving the auditorium, I heard numerous audience members from the full house offering very positive and complimentary comments about the performance. The exit music — Always Look on the Bright Side of Life — was an excellent choice.

I extended my congratulations to all at The Phoenix Theatre and hope to visit again soon.

Andy Brown, Regional Councillor NODA West Midlands

© NODA CIO. All rights reserved.