Tag Archives: Andy Secombe

Indebted to Chance – 4 Stars

Indebted to Chance

Indebted to Chance

Old Red Lion Theatre

Reviewed – 8th November 2018


“an ingenious play about an extraordinary woman”


Mercurius Theatre’s Indebted to Chance explores the true story of Charlotte Charke, an 18th century actress, writer, and businesswoman who defied societal expectations of femininity and obedience. Known for “britches roles” (women playing male characters), Charke also frequently dressed in men’s clothing off-stage, and occasionally passed as a man. Author Charlie Ryall has mined Charke’s autobiography and come up with a funny, fresh, irresistibly interesting story about a woman who persists in doing what she wants, and being who she is, in spite of the considerable forces aligned against her.

Indebted to Chance interrogates the volatile relationships Charke (played by Ryall) has with her father (Andy Secombe) and her husband (Benjamin Garrison), and sheds light on her perhaps not-so-platonic feelings for the enigmatic Miss Brown (Beth Eyre) of her memoirs.

This is smart, fun, irreverent theatre. It is consistently funny and entertainingly self-aware. Ryall is canny in knowing when not to shy away from silliness (there’s nods to Monty Python and a memorable fish-slap). In an age where dark drama reigns, it’s a delight to find a performance that’s intelligent, relevant, opinionated, and doesn’t take itself too seriously.

As the play mainly takes place in the theatre managed by Charke’s father, Ryall and director Jenny Eastop playfully approach the play-within-a-play scenario. The actors interact with the audience, cleverly acknowledging that we are both their 18th century audience, and their modern audience.

The performances are strong throughout. Ryall wins the audience over easily as the stubborn, acerbic, exasperated Charlotte Charke. There’s a genuineness to her that pulls you in. Garrison is convincing as the charming, emotionally abusive husband, and Lydia Bakelmun (playing Betty Careless), has wonderful comedic presence.

Eastop and designer Sunny D. Smith are highly efficient with the small space, minimal props, and a sparse set. Dangling ropes are creatively used to create a jail cell. The costuming is effective, and does the heavy lifting in transporting the play to the 1700s.

Some issues overall involve abrupt transitions that can be disorienting as the story jumps backward and forward in time, and weak central narrative. Indebted to Chance is more like a patchwork of scenes than a progressing story. It’s a testament to the strength of the characters and dialogue that the play never feels like it’s dragging.

Those wary of plays set pre-1900, due to the density of the language, needn’t be put off. The dialogue is calibrated for a modern audience, and is anything but dry. It’s skilfully written, clever, and very funny. The intermission break is a surprise – the first hour sails by. This is a two-hour performance that earns its runtime.

Indebted to Chance is an ingenious play about an extraordinary woman who refused to play by her society’s unfair rules. It’s sharp, it’s current, and it has an excellent sense of humour.


Reviewed by Addison Waite

Photography by Chris Marchant


Indebted to Chance

Old Red Lion Theatre until 1st December


Previously reviewed at this venue:
Nightmares in Progress | ★★★½ | January 2018
Tiny Dynamite | ★★★★ | January 2018
Really Want to Hurt me | ★★★★ | February 2018
The Moor | ★★★★ | February 2018
Shanter | ★★★ | March 2018
Plastic | ★★★★★ | April 2018
In the Shadow of the Mountain | ★★ | May 2018
Tales from the Phantasmagoria | ★★★ | May 2018
I am of Ireland | ★★★ | June 2018
Lamplighters | ★★★★ | July 2018
Welcome Home | ★★★ | August 2018
Hear me Howl | ★★★★ | September 2018
That Girl | ★★★ | September 2018
Hedgehogs & Porcupines | ★★★ | October 2018
Phantasmagorical | ★★★ | October 2018
The Agency | ★★ | October 2018


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Talk Radio

Old Red Lion Theatre

Reviewed – 31st August 2017





“doesn’t hit home enough to be provocative”



Thirty years since its first performance, Covent Garden Productions brings Talk Radio to the Old Red Lion, a play about free speech and how we misuse it. Fictional shock-jock Barry Champlain invites his listeners to call in and say their piece on any topic they like, from the personal, political to the perils of garbage disposal, for which he in turn lambasts them with caustic wit. On the eve of national syndication, Champlain starts to lose control live on air.

I want to love this production. There is a lot to like. Matthew Jure’s performance is masterful. His energy and mania as Barry starts to unravel on air is hypnotic. The rest of the cast are equally fantastic, particularly Ceallach Spellman who storms on as the irrepressible Kent. The set design is incredible, the detail is immaculate and the claustrophobia it creates is palpable. Turner’s direction is slick, keeping the show moving at break neck speed. The pace never slows as the constant stream of voices bombard Champlain, trapped in his box. This has all the elements of a great show.

Unfortunately, it lacks heart. While the lack of connection with the callers may be deliberate, the relationships in the room feel equally hollow. They all exist in isolation, which undermines Barry’s contempt for his callers and robs the play of any emotional impact. The most obvious casualty of this is Molly McNerney’s Linda, whose last minute attempt to reach out to Barry feels unfounded. She becomes just another caller for Barry to abuse and what should be poignant falls flat.

There are also a couple of inconsistencies which just feel clumsy – a particular moment sticks out when an unpleasant delivery is made to the station, creating real tension – which then gets completely thrown away when said delivery is left to litter the DJ booth.

There is no question that Eric Bogosian’s script still has relevance today, with free speech being so widely misused across social media. Questions about what it is we choose to say and who it is we choose to listen to feel even more pertinent in the age of Twitter. But while enjoyable, this show doesn’t hit home enough to be provocative.


Reviewed for thespyinthestalls.com

Photography by Cameron Harle




is at The Old Red Lion Theatre until 23rd September



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