The Unfriend

There is always a certain intrigue when a well-known television writer turns their hand to the stage, and Steven Moffat - of Doctor Who and Sherlock fame - certainly brings a recognisable sharpness and pace to his dark comedy The Unfriend. As St Nicolas Players continue their run of the play at the South Holland Centre, Spalding, audiences are being treated to a production that embraces the piece’s deliciously awkward premise while delivering a polished evening of amateur theatre.

The Unfriend centres on Peter and Debbie, a polite, middle-class British couple whose lives are upended after they make a seemingly harmless holiday acquaintance with the eccentric Elsa Jean Krakowski. What begins as casual holiday friendliness soon spirals into farce when Elsa unexpectedly announces she will be visiting them in England—forcing the couple into an increasingly desperate attempt to avoid hosting a woman who may, or may not, be a notorious serial killer.

It’s a premise that promises biting social satire and escalating comic tension, and while I very much enjoyed the central idea, I found that I didn’t quite gel with some elements of the script on a personal level. That’s less a reflection on the writing itself—Moffat’s trademark wit is very much present—than on my own comedic tastes, as some of the humour simply didn’t land for me as strongly as it might for others. However, any such reservations were more than compensated for by the quality of St Nicolas Players’ production. With assured direction, excellent production values and a series of very strong performances across the cast, this was an impressively confident staging that showcased the company at its very best.

As Peter, Adam Patman took on what was unquestionably the most demanding role in the play, carrying a mammoth amount of dialogue and rarely leaving the stage for long. It was a performance delivered at breakneck speed, yet impressively he maintained crystal-clear diction throughout, ensuring every line landed cleanly with the audience. There was an undeniable energy to his portrayal — the sort that suggested he must have been utterly exhausted by the final curtain — and he threw himself into the role with a high-octane commitment that drove much of the evening’s momentum. Adam also proved himself an excellent physical comedian, using movement and timing to great effect, while his natural stage charisma made Peter an engaging focal point throughout. One of the standout moments came during Peter’s increasingly frantic and spiralling story of deceit surrounding his supposedly dying mother, a sequence Adam played with expert comedic skill.

In contrast, Mandi Wood’s Debbie was a more measured presence on stage, but no less accomplished for it. Where Adam often operated at full throttle, Mandi provided a welcome sense of balance, grounding the action with a calm assurance that anchored many of the play’s more chaotic moments. It is another role with a formidable amount of dialogue, yet Mandi delivered it with admirable clarity and control, each line carefully measured while still feeling entirely natural. She proved a very believable and relaxed performer, and her easy rapport with Adam created a convincing on-stage partnership at the centre of the story. One of her strongest moments came in Act Two during Debbie’s reflection on the prospect of “living with a serial killer”, a monologue Mandi handled beautifully, not least the wonderfully wry line describing Elsa as “Murder Poppins”. Throughout the evening, she charted Debbie’s escalating tension and stress with real skill, allowing the character’s growing anxiety to build gradually and convincingly as events spiralled further out of control.

Lynn Kirk’s Elsa was, quite simply, a joy to watch and a performance I absolutely loved. From the moment she appeared, she lit up the stage with a vibrant, magnetic presence that made Elsa impossible to ignore. It was something of a tour de force: Lynn brought a wonderfully warm and engaging energy to the role, while still allowing that faint but crucial undercurrent of unease to simmer beneath the surface. Her delivery had excellent pace and momentum, the lines tumbling out with a lively, almost rhythmic flow that perfectly captured Elsa’s brash, larger-than-life personality. Her American accent was consistent and convincing, and it helped shape a performance brimming with personality and colour. Elsa is gifted many memorable lines and Lynn delivered them all with clear relish, none more so than the gloriously outrageous (and forgive me if I paraphrase, I was scribbling my notes in the dark), “I could just mash you up in a giant bowl and roll around in you!” It was a stellar performance that provided many of the evening’s biggest and brightest moments.

David O’Brien made a tremendous impression as ‘the Neighbour’, a supporting role that nevertheless managed to steal every scene in which he appeared. Very much channelling the spirit of Martin Bryce (Richard Briers) from Ever Decreasing Circles, David perfectly captured the well-meaning but gloriously tedious nature of the character. What made the performance particularly enjoyable was the meticulous attention to detail: the small, carefully observed moments that added layers of comedy beyond the script itself. I particularly loved the way he consistently turned his head towards the same imaginary spot when referring to a conversation with his unseen wife, as though she were permanently positioned just to his right. There was also a wonderfully awkward lack of awareness of personal space, as well as the delightful moment where he paused to acknowledge the faint, barely perceptible sound of traffic with a slight turn of the head while waiting. His wonderfully blank, almost impassive reactions at key moments were superbly judged, demonstrating impeccable comic timing and making his appearances some of the most quietly hilarious of the evening.

Joe Dickinson made a memorable impression in the smallest role of PC Junkin, appearing only in Act Two but managing to make the most of his limited stage time. It was a solid performance, delivered with charm and precision, and I particularly enjoyed the combination of his deadpan delivery and his beaming, innocent smile, which made him a subtly delightful presence amid the surrounding chaos. While the role was brief, Dickinson handled it confidently and added a subtle layer of humour and lightness that complemented the rest of the cast beautifully.

Henry Matthews and Jess Smyth Wood gave confident and engaging performances as Peter and Debbie’s teenage children, Alex and Rosie, proving they could hold their own alongside the highly accomplished adult cast members. Both showed excellent projection and enunciation, ensuring every line was clear, and their comic timing is clearly developing impressively. Their characterisations were very effective, navigating the transition from surly, frustrated teenagers to empowered and loving young people with ease and authenticity. Henry brought a natural charm and a sharp sense of humour to Alex, making his moments of cheeky defiance particularly enjoyable, while Jess’s Rosie was warm and expressive, with a lovely sense of timing that highlighted both the wit and heart of her character. Together, they added depth and vitality to the family dynamic, rounding out an already strong ensemble with poise and skill.

The evening’s success was in no small part down to the direction of Glen Barker, who demonstrated real control over the play’s pace and rhythm. He kept the dialogue moving at an incredible tempo, ensuring the farcical elements landed with precision while still giving the audience time to catch every comedic beat. Glen’s handling of physical comedy was particularly impressive, eliciting genuine laughter from the audience without ever feeling forced, with Peter’s exaggerated negotiations with the policeman through the toilet door a particular highlight. Despite the brisk momentum, Glen also allowed the action and dialogue moments to breathe, striking a careful balance that let both the humour and the character dynamics shine. It was clear that he had worked hard to develop the relationships on stage, creating a cohesive and dynamic ensemble that carried the farce with energy, clarity, and consistency throughout.

The production values, overseen by producer, David Whipps, were nothing short of exceptional, beginning with a magnificent set that was a real triumph for the design and construction team — Richard Evenden, Arline Evenden, Janet Staples, Blanche Robinson, and Joe Dickinson all deserve full credit. The set was not only sturdy but also functioned as a highly effective backdrop to the action, with features that added both realism and spectacle: a full flight of stairs that allowed dynamic movement, a working tap at the sink, a large fridge with fully operable doors, and the clever use of enlarged photos to create depth in the exterior scenery beyond the front door. The costumes, managed by wardrobe mistress, Janet Staples, were all appropriate and characterful, with Elsa’s outfits particularly memorable — her holiday dress and pink velour tracksuit were perfectly suited to her character, and her wig was of excellent quality. The stage was well lit, with thoughtful touches such as the blue light used when Peter and Debbie were researching on their laptop in the kitchen adding atmosphere, while the sound and music were equally well handled, with each song chosen for meaningful impact. The only minor point being the lack of incidental music at the top of the show to gently ease the audience into the action as the lights dimmed. Overall, the lighting and sound cues were slick and on point, and Ben Smyth deserves congratulations for his first-time operation of both, delivering a technically polished and seamless production.

All in all, this production of The Unfriend was a thoroughly enjoyable and high-quality evening’s entertainment from St Nicolas Players, reflecting the remarkable talent and dedication of everyone involved. Congratulations and thanks are due to Glen Barker and his cast, David Whipps, stage manager, Arline Evenden, and her team, for keeping everything running smoothly, and FOH manager, Nigel Hancocks, for welcoming audiences so warmly. With a confident, energetic cast, a stunning set, strong direction, and polished lighting and sound, the company delivered a beautifully executed and engaging performance, leaving audiences with a truly memorable theatre experience.

© NODA CIO. All rights reserved.