★★★★

“the script and performances had me uncontrollably laughing throughout”

This play was quite possibly the best way to end my week. When my friend asked me what I was off to see Friday night I sent him the first few sentences of the synopsis for the play, his response, “That first sentence grabbed me dude” and I can’t disagree with him “Two Flat-Earthers travel to Antarctica to find the edge of the world”. I was hooked! This Little Earth was something I hadn’t yet seen or heard of being put on a stage and it explored much more than I expected.

Without giving too much away, This Little Earth is a retrospective rollercoaster jumping you from different continents and points in time. The story follows Honey and Christopher who start in perilous circumstances with the audience left on a literal cliff-hanger as we are cut to their meeting over extremely awkward flirting and shared tragic backstories. We then follow them through their preparations to journey as far South as you possibly could in hopes to find “the edge of the world”.

This play, whilst harmlessly poking a little fun at the Flat-Earth theory, also explores a wide range of deep themes and emotions that will engage all audiences.

I couldn’t help wondering throughout, how much time in research writer Jessica Norman spent with Flat-Earthers. Because, whilst watching these characters discuss their opinions on the matter using similar rhetoric that an ex-colleague of mine and proud Flat-Earther previously had, it made me do a mental double take from hearing similar arguments and talking points that it felt eerily too familiar. It can be easy to dismiss conspiracy theorists as crazies, but Jessica Norman found a way to allow audiences to gain a little sympathy and understanding to how easy it is for your beliefs to change with a lot of help from algorithms and echo chambers.

Admittedly, I am a tough audience member to crack at comedies. But, the script and performances had me uncontrollably laughing throughout whilst also developing an irrational fear of penguins.

Fanta Barrie and Ross O’Donnellan, directed by Imy Wyatt Corner delivered sensational, dynamic performances. Their connections to their characters and each other were captivating to watch with an expressive display of emotion over a multitude of tough subjects and themes. So much so that the audience needs little imagination to be transported around the globe with them. I look forward to seeing what they tackle next.

A special mention to the set (Cat Fuller), lighting (Hugo Dodsworth) and sound (Jamie Lu) team. There were honestly moments I caught myself in awe at the visuals and hearing echoes bouncing around the theatre that made me think I was trapped in a cavern with the cast. The set deceptively looks very minimalistic to begin with. It gave the impression of an Antarctica where Superman could happily hang up his cape at the end of the day. The team at 3 Hearts Canvas brought this original piece to life and if I saw this being performed again in the future I will eagerly push as many people as I can to watch it again with me.

CROCODILE FEVER

Arcola Theatre

★★★

“The central performances belong to Tyler and Rooney. They are on fire.”

Crocodile Fever is a chaotic drama set in chaotic times about chaotic family relationships. Meghan Tyler’s play, first shown at the 2019 Edinburgh Festival Fringe, is enjoying its London premiere. It is set in a family household in Northern Ireland in 1989 – that is, in the midst of the ‘Troubles’, a euphemism for the violent conflict of the times.

Younger audience members (and even some not-so-young) might benefit from knowing something of the background and history of those times because there are references – for example the sinister memory of the ‘knock on the door’ in the night – that are easily missed yet will enrich understanding of the play.

What makes Tyler’s setting relevant are the underlying themes of oppression, abuse, dysfunctional sisterhood and casual horror. These are ably exploited by Arcola’s co-founder and artistic director Mehmet Ergan and his production team, and cannot help but recall other situations where these elements of war continue to be present. Altogether, however, it is hard to place the play neatly into a genre. Is it a metaphorical family drama, a black comedy or a grotesque absurdist play? Crocodile Fever defies categorisation, by intention.

The action opens in a pristine kitchen (set designer Merve Yörük deserves a mention) where pious sister Alannah (Rachel Rooney) is obsessively cleaning. She has tight control over her environment and wants to keep it that way, although we have early indications of a disturbed mind. Into this order, bursts Fianna (Meghan Tyler), out of a long term in prison and at the opposite end of the personality scale (apparently) to her sibling but wanting to renew their connection. She believes that their father died in a confrontation with the ‘paras’ (paratroopers) so is shocked to find out that he is, in fact, living: upstairs in the family home. Fianna is his long-suffering carer.

At this point any realism in the play starts to disintegrate, slowly but believably at first, and chaos takes over as the interaction between the sisters twists and turns helped by old songs, alcohol, quick fire dialogue and snatches of history that are hard to keep track of. We are on a track to horrible happenings. The father (brilliantly played by Stephen Kennedy) is the reptile in the attic and must be dealt with. His appearance towards the end of the first act is a shock. And from there on, there is a rapid descent of the action into gore and strange symbolism.

The central performances belong to Tyler and Rooney. They are on fire. Rooney, in particular, shows an extraordinary range of comic expression (a touch of the Mrs Doyle?) and, despite the absurdism, is then convincing in her portrayal of release and disintegration. She doesn’t let the flamboyant acting of Tyler as Fianna hog the limelight, as could so easily happen.

Yet, somehow I felt there should be a magnetism exhibited in the sister relationship (whether repelling or attracting) that somehow failed to materialise. It may be that the play, in dealing with so much, lacks a central focus and resolution. This could leave one feeling dissatisfied at the end; nevertheless, the overall impression is of a drama that is tackling big subjects in an innovative way so, if it loses its way a little, well isn’t that what happens in times of terrible conflict?

THIS LITTLE EARTH

Arcola Theatre

★★★★

“the script and performances had me uncontrollably laughing throughout”

THIS LITTLE EARTH

Arcola Theatre

Reviewed on 24th October 2025

by Myles Lovell

Photography by Johan Persson

Previously reviewed at this venue:

THIS LITTLE EARTH

THIS LITTLE EARTH

THIS LITTLE EARTH

CROCODILE FEVER

Arcola Theatre

★★★

“The central performances belong to Tyler and Rooney. They are on fire.”

CROCODILE FEVER

Arcola Theatre

Reviewed on 23rd October 2025

by Louise Sibley

Photography by Ikin Yum

Previously reviewed at this venue:

CROCODILE FEVER

CROCODILE FEVER

CROCODILE FEVER

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