HAPPY ENDING

Riverside Studios

★★★★

“Corcoran’s writing is slick, biting and devilishly funny in equal measure”

Everyone deserves happiness, right? Cameron Corcoran seems to think so in his play, ‘Happy Ending’ – though it’s not necessarily the ending you expect.

This pithy, first-person, one-woman play dives straight into the life of ‘Ariel’, a no-holds barred sex worker who grabs our attention as tightly as she might one of her clients (!). She candidly reflects on her life and the choices that got her here with disarming frankness and humour. As the play progresses, cracks appear in her outwardly perky demeanour, until a pivotal decision snaps her blurry world into focus and forces her to confront a reality she would rather suppress.

Produced by Off Main Stage company as part of Bitesize Festival, ‘Happy Ending’ is a sharp and absorbing take on serious themes including sex work, psychological defence mechanisms and the slipperiness of reality. But it’s far from gloomy – Corcoran’s writing is slick, biting and devilishly funny in equal measure, punctuated by well-timed, incisive and rather racy jokes. The prose cleverly reveals and conceals. The entire show is in first person with Ariel confiding in the audience as if to a close friend. It’s never made clear who we are or why we are in her confidence, but that’s the point: we only exist as far as Ariel requires us to, trapped in her warped reality as much as she is.

There are a couple of writing elements which work less well. The ending, though impactful in its brevity, feels a tad abrupt since the emotional build up is much meatier than the resolution. Secondly, I want to dig deeper into Ariel’s motivations and history, but she never lets us in that far. Finally, Ariel bears the full burden of responsibility for the perceived negative impact she has on her male clients’ lives without exploring any male accountability, which I find frustrating.

That said, the direction by Anastasia Bunce and assistant director Isabelle Tyner is fantastic. Ariel addresses the audience directly with lots of sustained eye contact which I couldn’t help but meet. The chumminess of her delivery contrasts deliciously with the fantastical illusion she creates. The lack of fourth wall is ironic as Ariel believes she IS a wall of sorts (go see it, you’ll get what I mean). Pacing is used to great effect, racing through the more outlandish opening section as if in a rush to build her world, before pulling back and sinking into more vulnerable moments.

Helena Harrison sparkles as Ariel. She flits from witty to brazen to charming without batting an eyelid, landing her jokes with excellent comic timing and satisfying grit. The opening section is so slick, not a single moment is lost despite the rapid pace. Harrison knows exactly when to draw us in with a subtle pause here, a slight frown there to show the mask slipping, and builds tension and pain throughout the emotional climax. She perhaps could have brought a touch more light and shade to the emotional revelation scene for even more impact, but overall Harrison should be commended on a fantastic performance.

The staging is simple and symbolic: a bed and a chair represent fantasy and reality respectively. Flick Isaac Chilton’s sound design skilfully fills any visual gap, locating us immediately with vivid audio moments. The array of sound effects is impressively deployed, adding an almost dreamlike quality. There is symbolism in Hannah Clancy’s lighting design too, transitioning from bright, almost gaudy pinks, to nightclub strobe, to more sombre cool tones as the piece progresses. The costumes add a further layer of depth. Ironically the more authentically we see Ariel, the more ‘covered up’ she is, further blurring our perception of her.

Charming yet clandestine, raw yet regulated, ‘Happy Ending’ is a powerful piece of theatre in the hands of a highly skilled team. Despite my plot reservations, it’s a fascinating, absorbing and funny watch. I highly recommend getting to know Ariel – though you may leave with more questions than you started.

HAPPY ENDING

Riverside Studios

Reviewed on 11th July 2025

by Hannah Bothelton

Photography by Anastasia Bunce

HAPPY ENDING

RUN TO THE NUNS – THE MUSICAL at the Riverside Studios

This show is presented as work-in-progress

★★★★

“a joy to witness, and anyone seeing this show will be wanting to follow its course, swept along by the energy and camaraderie of the company”

When Hamlet cursed Ophelia, commanding her to “get thee to a nunnery”, he almost certainly didn’t have in mind ‘Cressida’s Convent’ – the fictional nunnery by the sea. A shame really. It could actually have been Ophelia’s salvation. Judging by the teasing glimpses we get during the new musical, “Run to the Nuns”, this somewhat unconventional retreat is the perfect getaway. A cross between a sexual health clinic and holiday resort, it promises paradise, but not in the way your typical sister would expect. Chastity? No thanks! Silence? You’ll be lucky! The only vow required, it seems, is to have as much fun as possible during your stay.

Billed as a Queer Musical, it is far more interesting than that. It doesn’t need the label. Rooted in feminism it even transcends, without renouncing, that classification with its self-deprecatory style and comic turns of phrase. Jenette Meehan’s character driven writing is steeped in affection for its targets, which simultaneously softens and sharpens the satire. Rosa Lucaks’ compositions, performed by the spirited bunch of actor musicians throughout, are catchy and pared back enough to allow the sharp-witted lyrics to cut through. (It is unclear whether Meehan or Lucaks are to be credited for the lyrics, or whether a collaboration).

The convent/clinic/retreat/ (delete as applicable) is run by ‘Doc’ (Estelle Homerstone) and her eccentric sidekick ‘Sage’ (Cat Thomas), aided by resident gynaecologist ‘Kat’ (Dani Croston) and a regular troupe of ‘sisters’ (or rather siblings). The idyllic, albeit mismanaged, lifestyle is thrown into jeopardy by Kat’s former lover, ‘Orlagh’ (Eve Pereira), who arrives bringing both the ‘romantic subplot’ and the ‘deus ex machina’. Musicians Bettine Solf and Inés Ruiz, doubling as patients and/or siblings, complement and complete the family.

As part of the Bitesize Festival at Riverside Studios, “Run to the Nuns” epitomises the spirit and objectives of the project. Designed to allow producers, writers, directors, musicians, comedians, and cabaret artists to test new work, it has attracted a varied roster of performances across the genres. The shows are, by default, in their early stages. Yes, they might be under scrutiny, but nobody is judging. Audiences are encouraged to get into the festival spirit and enjoy (and there is plenty to enjoy throughout the month); but feedback is always welcome, and sought.

Despite a run on the Brighton Fringe earlier in the year, “Run to the Nuns” is evidently still a work-in-progress, with its budgetary and time constraints clearly showing. Yet these limitations are thrown into focus purely by the light that bounces off the jewel this show can be carved into. The story needs to be fleshed out, and undoubtedly more musical numbers are in the pipeline. The delightfully idiosyncratic characters could do with a bit of extra company. This is what the Bitesize Festival is all about. It is a joy to witness, and anyone seeing this show will be wanting to follow its course, swept along by the energy and camaraderie of the company. “Run to the Nuns”? Producers out there – the race starts here. But be quick.

HAPPY ENDING

Riverside Studios

★★★★

“Corcoran’s writing is slick, biting and devilishly funny in equal measure”

HAPPY ENDING

Riverside Studios

Reviewed on 11th July 2025

by Hannah Bothelton

Photography by Anastasia Bunce

Last ten shows reviewed at this venue:

HAPPY ENDING

HAPPY ENDING

HAPPY ENDING

RUN TO THE NUNS – THE MUSICAL at the Riverside Studios

This show is presented as work-in-progress

★★★★

“a joy to witness, and anyone seeing this show will be wanting to follow its course, swept along by the energy and camaraderie of the company”

Reviewed on 16th July 2023

by Jonathan Evans

Previously reviewed at this venue:

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