The Dead Playwright's Society

I was invited to an evening of three one‑act plays, presented in a black‑box configuration that allowed for simple, effective, and versatile dressing of each set. The stripped‑back environment suited the variety of styles on offer and kept the focus firmly on the performances. This minimalist approach also encouraged the audience to engage more closely with the actors’ work, highlighting the shifts in tone and genre across the evening.

Teeth (Tom Stoppard) This sharp, witty Stoppard piece was well supported by an ensemble who clearly understood its comic rhythms and the precision required to make the humour land. Ade Godding’s George was particularly strong; his controlled, grounded portrayal, especially in the scenes where he is ‘numb’ created a pleasing contrast between the absurdity of the situation and the character’s internal state. His timing was well judged, and he handled the tonal shifts with confidence. Sandie Cowle’s Agnes delivered a delightfully dry performance, with shades of a Nora Batty‑type figure, and she formed a lovely double act with Alyssa Cooper’s Flora. Their interplay felt authentic, well‑paced, and rooted in character rather than caricature. Grainne Wiggan and Alex Hall both worked hard in their roles, though there were moments when lines became difficult to hear, and Harry occasionally struggled with clarity of delivery. With such text‑driven material, vocal precision is essential, and a little more projection would help the humour and detail shine through. The minimalist approach to props was handled neatly and complemented the piece’s reliance on dialogue and character interaction.

A Kind of Alaska (Harold Pinter) Pinter’s work, with its distinctive silences, pauses, and emotional undercurrents, is always a challenge, and the cast approached it with commendable commitment. Karen Garrattley’s Deborah had moments where the delivery felt slightly awkward; it was not always clear whether this was an intentional interpretive choice, reflecting Deborah’s disorientation or a matter of pacing and confidence. Even so, she captured the fragility and confusion at the heart of the character. Grainne Wiggan’s Pauline offered some well‑placed touches of humour that helped to ease the tension and provided welcome contrast to the play’s more introspective moments. The overall tone occasionally felt a little unsettled, but the actors’ dedication to the emotional truth of the piece was evident. They treated the complexities of Pinter’s writing with respect, and the production demonstrated a willingness to engage with challenging material.

The Proposal (Anton Chekhov) This comic farce proved to be a highlight of the evening. Joe Cramsie’s Stepan was witty and engaging, drawing the audience in with charm, confidence, and well‑timed reactions. Iryna Sokirko gave an excellent performance as Natalya, nuanced, expressive, and full of comic detail, while Luke van Coot’s Ivan captured the character’s awkwardness, bluster, and neurotic energy with great conviction. The chemistry between the three actors was strong, and their escalating arguments were delivered with pace and precision, making the absurdity of the situation thoroughly enjoyable. The trio handled the shifts between sincerity and farce with skill, resulting in a lively and entertaining piece.

A standout moment before The Proposal was Iryna Sokirko playing the bandura while director David Black introduced the play. Her music was beautiful, atmospheric, and added a memorable cultural and emotional touch to the evening, a thoughtful addition that enriched the overall experience.

The evening showcased a hardworking company willing to tackle a demanding and varied repertoire. There were many warmly executed moments with strong comic timing, committed character work, and thoughtful staging choices. With a little more attention to vocal clarity in places, some of the finer details would land even more effectively. Thank you again for the invitation; it was a rewarding and entertaining night of theatre, and I look forward to seeing your work again in the future.

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