The Seventh Degree

The Seventh Degree, penned by Margot Lista, claims to be set in the present day… or does it? The play immediately toys with the idea of time itself — that slippery human invention we cling to because the alternative is simply too mind‑bending. We can’t see it, hear it, taste it or touch it, yet we all nod along as if we understand it. But what is it, really?

Lista’s script takes this philosophical pondering and threads it through a clever, intriguing exploration of the seven degrees of separation theory. Set entirely in the foyer of the mysteriously named Hotel Serendipity, seven strangers (or are they?) arrive one by one. Blake, the unflappable concierge, seems to know far more than he lets on, while the guests themselves quickly discover that once they enter the hotel, they’re trapped by an invisible force. No exits, no excuses — but why?

Vince (Faisal Mohiuddin) and Chloe (Esther Webb) burst in first, seeking shelter from the weather. Faisal gives Vince a strong, bullish presence — a man who believes the universe owes him a favour and isn’t shy about demanding it. At times the delivery felt a little one‑note, leaning heavily into volume, but the character’s abrasive nature certainly came across. Esther, meanwhile, brings a beautifully grounded contrast as the long‑suffering Chloe, offering logic and calm in the face of Vince’s bluster.

Maya (Greta Langdale) and Antonio (Massimo Petronio) had already arrived, and their chemistry was evident from the moment we first saw them together. Greta’s warmth paired nicely with Massimo’s charm, making their growing connection believable and engaging.

Then enters Flynn (Mike Ames), freshly released from prison after serving time for murdering his father. His arrival detonates the first major twist — he’s Maya’s estranged brother. Mike’s portrayal of a man hardened by circumstance and suspicious of everything was compelling and layered.

Zoe (Sacha Priscilla) brought a fiery, jittery vulnerability to the stage — a woman brimming with resentment and uncertainty, never quite sure of her footing.

Holding the entire piece together was Blake (Allan Thomson), the calm centre of the storm. Allan’s soothing voice and impeccable delivery made him a joy to watch. Even with a script in hand as an aide‑mémoire, he carried himself with the confidence and presence of someone decades younger. As a nonagenarian, he absolutely held his own.

Supporting roles from Foster (Jenny Tygrys) and the Porter (Ben Johnson) added texture and balance to the ensemble.

The arrival of Saige (Carol Smith) shifted the play into its final gear. Carol exuded mystery from the moment she appeared. While the other guests had at least tenuous links to one another, Saige seemed like the odd piece in the puzzle — until she revealed the truth. None of them were there by chance. They were all connected, threads in the same tangled web of seven degrees of separation. Her reading of a letter from Rose (Christina Lay) — Maya and Flynn’s deceased mother — delivered the final revelation: Rose, not Flynn, had killed their father. With this truth unearthed, each character was finally able to confront their own demons and, at last, leave the hotel.

Margot Lista deserves huge credit not only for writing this thought‑provoking piece but for directing it with clarity and confidence. It’s a play that lingers in the mind long after the curtain falls — I certainly found myself reflecting on my own life, and I suspect many others in the audience did too.

Technically, the production was clean and effective. Lighting was simple but well executed, with no distracting shadows. The transition from Saige’s voice to the recording of Rose’s was timed perfectly. The single set was well proportioned, allowing the cast to move freely. I did think though that the inclusion of the on‑stage “log burner” didn’t seem to add much. And a gentle reminder to the cast: if you’re serving hot drinks, treat the mugs as if they contain something hot. A few moments of wild gesticulation could have resulted in third‑degree burns in real life. Costumes were generally good, though a touch more colour in places might have helped define certain characters more vividly.

Overall, The Seventh Degree was a bold and fascinating choice — and one that will stay with me for all the right reasons. Congratulations to everyone involved, both onstage and off. A thoughtful, intriguing production that absolutely earned its applause.

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