RAGDOLL

Jermyn Street Theatre

★★★★

“a highly watchable cast, delivering line after line of snappy dialogue”

Katherine Moar’s “Ragdoll” is inspired by the trial of Patty Hearst – the heiress turned actress, kidnapped by the Symbionese Liberation Army in the 1970s who was later convicted of working with them and being charged for armed robbery. Her defence lawyer, Francis Lee Bailey, lost the case despite putting forward the fact that she was coerced into it by her captors. Although the names have been changed, there is little to separate the fictional characters from the real-life ones (even the SLA is namedropped). So ‘inspired by’ is probably an understatement. The disguise is a very thin veil. There is no disguising at all, however, the sharpness of Moar’s writing in her thoughtful, thought-provoking, ingeniously structured and punchy new play.

The narrative is split between two pivotal points in the lives of our protagonists. In the late seventies, Holly (Katie Matsell) is awaiting trial for her role in the armed robberies. Her hotshot lawyer, Robert (Ben Lamb) sees it as a case to project his career into the major league. There is a lot of media attention, some of it unwanted and unwarranted. Robert has his own distractions, too, mainly in the shape of a hack journalist out to smear his name. We first meet the couple in the present day. They are estranged by now, but Robert (Nathaniel Parker) is calling in a favour from Holly (Abigail Cruttenden), hoping she can bear witness to his character and help clear him of allegations of an ‘inappropriate nature’. Holly is naturally resentful – having been ghosted and abandoned by Robert decades earlier. We are aghast at Robert’s confidence that borders on arrogance. Tensions and stakes are high, and emotions rise even higher, tempered by moments during which Moar leads us gently into ‘odd-couple’ comedy territory.

We never drift into familiar territory, however. Even if sometimes we think we might be heading that way. Whenever that happens, Moar repeatedly sticks the knife in with a twist, forcing us to look at things in a different way. The two time periods are separated, until further twists reveal how great and significant the overlap is between past and present. A fascinating dramatic device is at play here, which the cast pull off masterfully.

The characters are undoubtedly privileged but are played with a compassion that arouses our sympathy. Matsell’s nervous idealism as the younger Holly turns into the fury and resignation that Cruttenden portrays with a bubbling, volcanic strength. Lamb, as the rising star of the courtroom, hasn’t yet had his smooth confidence worn away by the knocks to his career, while Parker’s present-day Robert, however, clings onto this self-conviction by a thread. They are both victims in a way. Victims of changing times and attitudes as much as circumstance. “If I had died, people would like me more” quips Holly in retrospect, thankfully without sentimentality. Josh Seymour directs with a tight hand on the oscillating structure: the actors watching their other selves, engaging and reacting. Ceci Calf’s simple set, strewn with packing cases, is dominated by an expensive, cream leather sofa, rich in symbolism.

This is only Moar’s second play, but the dialogue has a veteran’s finely-honed shrewdness and insight, offering peep holes into social history as well as the human condition. Its context is specific, but the questions raised are far reaching. With a highly watchable cast, delivering line after line of snappy dialogue, “Ragdoll” is an absolute joy to watch. We barely have time to think about what we are supposed to be thinking about – there’s time to do that on the tube journey home. We know, though, that we have been in the presence of a writing talent to keep an eye out for.

RAGDOLL

Jermyn Street Theatre

Reviewed on 14th October 2025

by Jonathan Evans

Photography by Alex Brenner

RAGDOLL

Black Chiffon

Park Theatre

Reviewed – 19th September 2019

★★★★

“a hugely enjoyable watch which will have its audience gripped”

Mrs Alicia Christie (Abigail Cruttenden) has the perfect upstanding family life. Or so she would like you to believe. Below the surface of formality, there bubbles intense resentment and one-sided jealousy between father Robert (Ian Kelly) and son Roy (Jack Staddon), the latter of which is due to be wed in four days to the beautiful Louise (Jemima Watling). Daughter Thea (Eva Feiler) offers some respite to the family’s persistent quarrelling, but tensions are consistently high and the stressful burden of playing happy families is taken on by the dutiful Alicia.

When Alicia goes out to the local department store to buy some groceries for dinner with Louise’s parents, she makes a split-second decision that shocks both her family and herself. Enlisting the services of ‘mind specialist’ Dr. Hawkins (Nicholas Murchie), the well-to-do family attempt to understand what led their dear matriarch to commit such an act. Black Chiffon, written by Lesley Storm in 1949 and directed here by Clive Brill, is about family, social preservation and the often-unrecognised struggle of the harmonising mother.

The acting is strong from all parties and the characters highly believable. Cruttenden commands the stage with her defiant motherly strength and Kelly does well to act the detestable and distant father. Staddon and Feiler have good sibling chemistry and Watling – in the same role her late grandmother, Patricia Watling, played in the 1950 Broadway production – is the perfect simpering bride. Murchie is witty and quick and his conversations with Cruttenden comprise some of the play’s best moments. The dialogue can be a bit cliché at times such as the grand announcement that closes the first act, but in general the script is solid and intriguing.

The set (Beth Colley) is wonderfully elaborate. The play’s action takes place in the drawing room, a decorated space with dark green walls and a large window to the right. An ornate camelback sofa, armchair and round mahogany coffee table are centre stage. A well-stocked drinks cabinet sits on the back wall next to a small table with a telephone. The actors enter and exit from stage left through a pair of double doors that can be pulled to. The audience also walks through these and along a short corridor decorated as if part of the house to reach their seats which is a nice touch in immersing them in the space.

Despite this limited setting, the play gives a good sense of space beyond the drawing room. The characters comment on the hustle and bustle elsewhere in the house and we hear cars pull into the drive. A painting hanging above the fireplace is remarked to be a painting of the house’s Embankment surroundings some years ago, and the characters regularly gaze out the window.

Each act is marked by a fade to black in which the family’s maid Nannie (Yvonne Newman) bustles around the house tidying and rearranging. Beyond this, the lighting (Pip Thurlow) is only notably used to create a sense of day and night through the window. This is at its best when vibrant oranges and pinks create an early morning glow. The costumes (Neil Gordon) were good and of the era with Cruttenden treated to a fabulous array of dresses and headpieces. The music – taken from David Darling’s album ‘Cello’ – creates a strong sense of foreboding and anxiety.

Brill’s production of Black Chiffon is a hugely enjoyable watch which will have its audience gripped. The performance is slick and carries itself with the same dignity to which the Christie family aspire.

RAGDOLL

Jermyn Street Theatre

★★★★

“a highly watchable cast, delivering line after line of snappy dialogue”

RAGDOLL

Jermyn Street Theatre

Reviewed on 14th October 2025

by Jonathan Evans

Photography by Alex Brenner

Previously reviewed at this venue:

RAGDOLL

RAGDOLL

RAGDOLL

Park Theatre

Reviewed – 19th September 2019

★★★★

“a hugely enjoyable watch which will have its audience gripped”

Brill’s production of Black Chiffon is a hugely enjoyable watch which will have its audience gripped. The performance is slick and carries itself with the same dignity to which the Christie family aspire.

Reviewed by Flora Doble

Photography by Mark Douet

Black Chiffon

Park Theatre until 12th October

Last ten shows reviewed at this venue:

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