★★★½

“a poignant exploration of memory’s erosion and the human connections left in its wake”

At first glance you might think that the Theatre Royal Windsor’s world premiere of Doubting Thomas, a new play written by husband and wife team (and Writers in Residence) Catherine O’Reilly and Tim Churchill, is a ‘Whodunnit’ set in a care home. This is not the case. The play deals with the far more devastating scenario of a family who have had to make the painful decision to move their beloved husband and father Thomas, following a diagnosis of dementia, into a nursing home. When Thomas is found crouching over the dead body of one of his carers, being the only suspect a case against him swiftly goes to court.

I found this a fascinating angle for a play, a dementia patient with no memory and no ‘voice’ therefore unable to defend himself – a classic unreasonable doubt scenario played against the backdrop of the emotional fallout on his family and exactly what they will do to defend him.

Dementia has become an increasingly prominent and powerful subject not only in society but in contemporary theatre and film. This production manages to use it, under the solid direction of Charlotte Peters, to explore the sensitive themes of memory, identity, family dynamics, ageing and loss. Felicity Dean whose strong yet subtle portrayal of the central character Jane Noble holds the play together, whilst the various members of her family, her histrionic elder daughter Sara played by Claire Marlow, her grandson Ben a very assured and believable portrayal by Louis Holland and her younger daughter Anna, excellently played by Eva O’Hara, all have various skeletons in the closet.

The staging is quite intimate and together with the stereotypically middle class set, helps evoke a sense of claustrophobia as the family tensions play out. The writing almost feels like a screenplay at times, cleverly switching from one scene outside to another inside, with effective use of lighting by Will Brann. As the characters and plot develop even more tangents in the second act, it seems that the writing is mirroring the mind’s disintegration and cognitive decline by having so many different threads.

Doubting Thomas in its honesty, confronts the painful realities of dementia, sudden loss and what it means to care. It offers a poignant exploration of memory’s erosion and the human connections left in its wake. It is wonderful to see a new, modern play that actually recognises the humanity in those society often overlooks.

FILUMENA at the Theatre Royal Windsor

★★★★

“There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch”

The opening of Eduardo De Filippo’s “Filumena” finds the title character on her deathbed with Domenico, her partner of twenty-five years, gallantly agreeing to marry her before she gasps her last breath. However, we never see this – it all happens before curtain-up, in another room of Domenico’s opulent Neapolitan villa. What we do witness, though, is the aftermath when Filumena miraculously springs back to life and the ruse is revealed.

Matthew Kelly, as Domenico, is in his element as he wails to the heavens at the injustices of finding himself duped. Not only is his pride wounded, but his plans of marrying the much younger Diana are annihilated. Felicity Kendal’s Filumena is no fool. A pocket-rocket of passion she gives as good as she gets, and we soon learn that her motives are far more honourable than mere vengeance. The couple have lived together for a quarter of a century, ever since the wealthy Domenico lured Filumena away from her life of prostitution and, although that particular career path is a thing of the past, there are three things that have followed her into her dotage. Namely three sons – now strapping lads in their mid-twenties. Filumena wants the wedding ring on her finger to legitimise them. Domenico is having none of that; so cue the lawyers, tantrums, buried grievances, hidden mistresses, histrionics and De Filippo’s gorgeous, if lengthy, dialogue. The two protagonists have much to get their teeth into, and they do so with abandoned relish.

The Italian fervour is slightly sanded down in Keith Waterhouse and Willis Hall’s translation, but it still retains a potent mix of acidity and affection. Kendal transforms her character from that of a calculated schemer to a woman with a deep inner strength, warmth and hard-won resolve. Kelly’s sense of privilege is challenged, not just by his mistress, but by an awakening empathy and brooding responsibility. It is no spoiler to tell you that one of Filumena’s sons turns out to be Domenico’s too. But which one? The second act opens with a delicious scene in which Domenico steers the seemingly casual conversation to try and detect in the young men any genetic similarities to himself.

But it is far from a two-hander. The supporting cast are excellent. Gavin Fowler, Fabrizio Santino and George Banks each have a chance to share the spotlight. It is perhaps a little odd that they are so accepting of their new circumstances, having only recently discovered who their mother is. We presume, too, that they have each been brought up independently, although the sibling dynamic is strong. Sarah Twomey’s Lucia, the maid, is loving the family upheaval. Flirtatious and vivacious, Twomey lights up the stage at every opportunity.

Morgan Large’s lush drawing room set gives us a real sense of grandeur although less of a feel of the period and the Neapolitan, sun-kissed location. Yet it sits well with the timeless nature of the action. There might have been more resonance when Filippo wrote the play in the immediate aftermath of the second world war, but the more contemporary backdrop translates well, sometimes making the wavering Italian accents seem unnecessary.

Sean Mathias’ slick direction vividly animates the static setting. It is a very wordy play, but at least there are as many moments of humour as well as insight and wisdom that Mathias brings to the fore. And the lead performers’ energy refuse to allow any dull moments to slip in. There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch. When Filumena finally learns how to cry, we feel her tears too, yet the journey there has also been filled with plenty of laughter.

DOUBTING THOMAS

Theatre Royal Windsor

★★★½

“a poignant exploration of memory’s erosion and the human connections left in its wake”

DOUBTING THOMAS

Theatre Royal Windsor

Reviewed on 4th June 2025

by Sarah Milton

Photography by Jack Merriman

Last tens shows reviewed at this venue:

THE GREAT GATSBY | ★★★ | February 2024

DOUBTING THOMAS

DOUBTING THOMAS

DOUBTING THOMAS

FILUMENA at the Theatre Royal Windsor

★★★★

“There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch”

FILUMENA at the Theatre Royal Windsor followed by UK Tour

Reviewed on 9th October 2024

by Jonathan Evans

Photography by Jack Merriman

Previously reviewed at this venue:

FILUMENA

FILUMENA

JOIN US