Tag Archives: Bethan Cullinane




Stephens House and Gardens



 Stephens House and Gardens, Finchley

Reviewed – 18th September 2020



“There is so much charisma and bite on stage, it seems slightly ridiculous that we should be allowed to experience this in such an intimate setting.”


Twenty or so fold-out chairs, scattered two metres apart, surround a small fairy-light-canopied stage, nestled beneath a big old tree at the bottom of the garden. Not quite summer anymore, there’s a significant nip in the air as the sun sets behind us, and the select crowd snuggles in to their jumpers and coats (one couple taking a sneaky swig from a hidden flask- not a bad idea), readying for the show to begin.

It doesn’t get much more picturesque than that, really. And besides the fact the location was likely chosen due to Covid, it feels more like the perfect setting for a small Midsummer Night’s Dream production or Woolf’s pageant in Between The Acts, and the limited audience makes it feel all the more special. Maybe it’s not extra practical for the production, but I’m having a very nice time…

“Why is everything so bland?”, Cesare Borgia (James Corrigan) begins, lamenting the misery and boredom of his princely responsibilities. He yearns for a taste of freedom, and so decides to offer his position and title to a passing unemployed politician, Niccolò Machiavelli (Nicholas Limm) who jumps at the opportunity, while Borgia himself guises as a struggling artist because, as he rightly posits, “The truth is simple: Artists win at life.” Simultaneously, Leonardo da Vinci (Akshay Sharan), similarly sick of his lot, decides to seek something more grounded than the lofty arts and, also disguised, finds a job in the Borgia palace as a politician. Cue a series of hilarious misunderstandings, disguises piled on top of disguises, genders swapped, stations elevated and swiftly demoted.

Writer Charlie Ward packs a lot in: war, politics, religion, romance, gender identity, class disparity, and all in a form that sits somewhere between a bedroom farce and a Shakespearian comedy.

Everything is in rhyming couplets and iambic pentameter (I think?) and just as with a Shakespeare play it takes a little while to find the rhythm, so with Renaissance, the first few scenes of dialogue are largely lost while the audience recalibrates. But it does give the story a pace, and a certain flavour which, being that it’s set in the sixteenth century, feels apt.

Before lockdown, nearly the entire cast was committed to major theatrical projects elsewhere, and you can see why. There is so much charisma and bite on stage, it seems slightly ridiculous that we should be allowed to experience this in such an intimate setting. The physical comedy and timing displayed, combined with everyone’s extensive previous experience with Shakespearian language brings a very comfortable, natural delivery, as though they spent their lives speaking in rhyming couplets. Corrigan whips between silly and domineering with ease; Bethan Cullinane is a force, so quietly sure of herself, she hardly moves whilst somehow absolutely commanding the stage. And Haydn Gwynne is just fabulous. Considering the immediate affect her presence makes on stage, she feels slightly underused, though you might say that of the whole cast really.

Director Emma Butler’s design is massively pared down, a necessity for such a small stage, and a relief really – there’s already enough to focus on with the grandiloquent language, and striking performances: Costumes consist of a simple palette of whites, creams and dusky pinks, and the ‘disguises’ comprise skirts swapped for trousers, shirts rebuttoned disheveledly, and dodgy French accents. It works though, and adds to the comedy, that someone should merely put a hat on and say they’re someone different from the person they were two minutes prior in the same company.

As theatre slowly starts to pick itself up again, even those productions that do manage to cobble something together will likely be taking an artistic hit, having to re-mould themselves in line with government guidelines. On this occasion, though, the restrictions have only enhanced the audience’s experience. How often do we have the chance to enjoy such a concentration of talent in such an intimate setting, and with fresh, new writing? Take the opportunity while you can, before (hopefully) everything returns to some semblance of normality and such an event becomes near impossible.



Reviewed by Miriam Sallon

Photography by Charlie Ward



Stephens House and Gardens until 20th September


Last ten shows reviewed by Miriam:
Antigone | ★★★★★ | New Diorama Theatre | January 2020
Frankie Foxstone Aka The Profit: Walking Tour | ★★★ | The Vaults | January 2020
Rags | ★★★ | Park Theatre | January 2020
The Canary And The Crow | ★★★½ | Arcola Theatre | January 2020
Madame Ovary | ★★★★ | The Vaults | February 2020
Meat | ★★★★ | Theatre503 | February 2020
Raw Transport | ★★★ | The Vaults | February 2020
Cracking | ★★★★ | King’s Head Theatre | March 2020
Take Care | ★★★★ | Network Theatre | March 2020
Thank You And Goodnight | ★★★★ | Camden People’s Theatre | March 2020


Click here to see our most recent reviews


Past Perfect

Etcetera Theatre

Past Perfect

Past Perfect

Etcetera Theatre

Reviewed – 1st July 2019



“the audience feels involved in the lives of these characters right from the start”


Past Perfect is a play about memory. It is a short, but effective script that explores a relationship between two people. It plays on the idea that we never quite remember the past as it actually happened, and when one partner has difficulty keeping track of time anyway, the stage is set for some lively disagreements about what happened on the day Gary met Nell, and the story of their relationship thereafter. As an additional complication, playwright Philip Holt presents us with three characters, two of them representing the memories of the woman Aurelia/Nell unfolding both in the time of the relationship, and as she remembers it looking back. The title Past Perfect is also a pun, referring not just to the way the characters might remember the past, but as a nod to the man, Gary’s, obsession with Latin verbs. As Gary and Nell skirmish over differing accounts of their imperfect present, can they reach a place where their memories can agree on a perfect past?

The performance is an agreeable way to spend forty minutes; it is not a profound play, but it is thoughtful entertainment, and it is also a good vehicle for talented performers. Patricia Magno, who plays the older Aurelia/Nell; Bethan Cullinane, playing the younger; and Robin Morrissey, who plays Gary, have plenty of opportunities to show the audience what they can do, and they make the most of them. They handle the opening monologues and rapid interrupting between characters not unlike tennis players deftly batting a ball back and forth. Undeterred by the small size of the playing space, and the closeness of the audience, they are also fearless in their use of direct address. The result is that the audience feels involved in the lives of these characters right from the start, and that interest continues right up to the moment where playwright Holt delivers a final, shocking, twist.

With a compact set cleverly designed by Amy Rose Mitchell, consisting of free standing flats decorated with clocks, and with skillful direction by Fred Gray, Etcetera Theatre’s production of Past Perfect gives an overall sense of time well spent in the theatre.


Reviewed by Dominica Plummer


Past Perfect

Etcetera Theatre until 6th July


Last ten shows reviewed at this venue:
The Break-up Autopsy | ★★★★ | October 2018
Never Swim Alone | ★★★★ | November 2018
Rats | | November 2018
Vol 2.0 | ★★★ | November 2018
Jailbirds | ★★ | December 2018
The Very Well-Fed Caterpillar | ★★★★ | December 2018
Bricks of the Wall | | January 2019
Saga | ★★★★ | March 2019
Safety Net | ★½ | April 2019
The Wasp | ★★★½ | June 2019


Click here to see more of our latest reviews on thespyinthestalls.com