★★

“the entire cast do as much as they can with the raw tools they’ve been given”

Has the time arrived for a new vampire story? John Donnelly thinks so. But unfortunately, his newest play, Apex Predator, can’t quite seem to decide what it wants to be — a commentary on postpartum depression and psychosis, or a horror-comedy about vampirism as an allegory for modern life. In trying to straddle the line between both worlds, it never really succeeds at either.

From the opening moment, we are reminded that London is a city of violence. Not only that, but no one in this city is going to help you, not really. If you expect to survive, you’re going to have to be strong. But Mia (Sophie Melville) is hardly feeling strong at the moment — her newborn, Isla, won’t feed. Her son, Alfie (Callum Knowelden), is being bullied at school. And on top of it all, her husband Joe (Bryan Dick) is sometimes away for days at his secretive job. When he does come home, they mostly bicker. Mia is exhausted. The neighbours are a nuisance, throwing parties with loud music, forcing Mia to bounce Isla to sleep night after night, and Joe seems… well, entirely unbothered by this. If anything, he appears agitated that his wife is having a tough time. Enter Alfie’s new art teacher, Ana (Laura Whitmore), who may just be able to offer Mia a way forward. The premise is interesting, if a bit old hat. How do we protect ourselves, but especially our children, in a world that grows more dangerous by the day? It’s unfortunate that each idea in the script feels under-developed, spawning into some new thread, while we ache for the previous thread to be tied.

Blanche McIntyre’s direction is confusing at times. Moments that feel like they deserve a bit more room to breathe are quite rushed, namely Mia and Ana’s very first meeting. Mia has rushed to Alfie’s school, to assert her son’s right to defend himself — he’s bitten another child, which feels like a bit of a flat pun, given the subject matter — and Ana switches from critical school bureaucrat to close confidante in ten seconds or less. Some dialogue is played for uncomfortable laughs, when the topic at hand feels anything but funny. In one specific moment, Mia runs round and round in circles, trying to find an escape, when there’s a relatively obvious one in front of her — a door that someone else has walked in through, just moments before. Whether this is down to McIntyre or the production’s Movement Director, Ingrid Mackinnon, is difficult to say.

But there are bright spots here. Whitmore is excellent as Ana, despite her character’s somewhat unconvincing arc. Melville is fascinating to watch as she swings between clarity and madness. Truthfully, the entire cast do as much as they can with the raw tools they’ve been given. The lighting and sound design (Jack Knowles and Chris Shutt, respectively) work together quite synergistically, particularly in a very short scene during the second act that evokes a moment from a slick on-screen horror. It’s just a shame that the story as written doesn’t allow for more of these gorgeous vignettes. The set design (Tom Piper) is excellent making great use of a relatively small space, surrounded by imposing scaffolding. The claustrophobia, the grit of a city like London is keenly felt.

All in all, the potential is there. One simply wishes that Donnelly had — forgive me — sunk his teeth in a bit deeper.

SUPER HIGH RESOLUTION at the Soho Theatre

★★★

“Ellis’ text is for the most part honest and sensitive in its portrayal, highlighting the importance of seeking help”

Nathan Ellis’ new play, Super High Resolution, which follows a junior A&E doctor as she struggles to cope with the daily stressors in her professional and personal life, finds its strength in a biting wit and well-timed comedic moments. Jasmine Blackborow portrays Anna, the play’s central figure, with sharpness and dexterity. Anna is worn thin by her sister (Leah Whitaker), her demanding boss (Catherine Cusack), and a difficult patient (Hayley Carmichael), in scenes that are equal parts pacey and tense. Director Blanche McIntyre gives these scenes space to breathe, allowing humour to seep into the play’s pervasive darkness and unease.

Andrew D Edwards’ set, in conjunction with Prema Mehta’s lighting design, creates a cold and impersonal environment. In the opening stage picture, harsh neon light washes over accordions of hospital curtains, lending the impression of metal shipping containers. The stagecraft feels appropriate in light of the continual gutting of the NHS.

It is a shame then, that to me, it feels Super High Resolution misses the mark in its handling of themes of suicide and self-harm.

I want to be clear that the production got a lot of things right. Its content warnings were detailed and clear, and the resources it lists on the play’s promotional material, both for mental health services and NHS workers, are extensive (these are shown at the end of this review). Super High Resolution does not seek to romanticise suicide either, and Ellis’ text is for the most part honest and sensitive in its portrayal, highlighting the importance of seeking help. The production, however, loses sight of this sensitivity and falls out of step with Samaritans’ guidelines in its depiction of a suicide attempt onstage. Not only is the method clearly portrayed, but the scene is noticeably drawn out, and its accompanying lighting and sound design make clear that it is intended to be the play’s climax.

In my opinion, this framing crosses a line. The play would have, in all likelihood, maintained its emotional impact without an onstage depiction, or a climactic attempt altogether. In addition, the theme of suicide (and descriptions/depictions therein) seems to be buttressing a play about the gutting of the NHS and the toll it has taken on medical professionals, not the other way around.

There is obviously a spectrum of opinions on how suicide should be handled in the medium of live performance, and Super High Resolution is far from the worst offender. It is clear that Ellis, McIntyre and the rest of the production team care about the issue, and that the play does not solely seek to cash in on shock value. But the play could have, and should have, approached the issue with more caution and sensitivity.

Reviewed on 2nd November 2022

by JC Kerr

Photography by Helen Murray

If SUPER HIGH RESOLUTION has affected you, the following resources are available; we encourage you to make use of them.

Clicking each logo will take you to the relevant website

You can contact Samaritans 24 hours a day, 365 days a year. You can call 116 123 (free from any phone), email [email protected] or visit some branches in person.

If you’re experiencing a mental health problem or supporting someone else, you can call SANEline on 0300 304 7000 (4.30pm–10.30pm every day)

Offers a supportive listening service to anyone with thoughts of suicide. You can call the National Suicide Prevention Helpline UK on 0800 689 5652 (open 24/7)

You can call the CALM on 0800 58 58 58 (5pm–midnight every day) if you are struggling and need to talk. Or if you prefer not to speak on the phone, you could try the CALM webchat service.

If you would prefer not to talk but want some mental health support, you could text SHOUT to 85258. Shout offers a confidential 24/7 text service providing support if you are in crisis and need immediate help.

If you’re under 35 and struggling with suicidal feelings, or concerned about a young person who might be struggling, you can call Papyrus HOPELINEUK on 0800 068 4141 (weekdays 10am-10pm, weekends 2pm-10pm and bank holidays 2pm–10pm), email [email protected] or text 07786 209 697.

For NHS workers

Wellbeing support by text for health and social care staff

All NHS staff can access free support by text 24/7. Text FRONTLINE to 85258 to talk by text with a trained volunteer.

Wellbeing support by telephone for health and social care staff

NHS staff in England can call 0800 069 6222 and NHS staff in Wales can call 0800 484 0555, daily from 7am–11pm.

Counselling and trauma phone helpline

Call 0300 303 4434, free and in confidence, 8am to 8pm 7 days a week.

Shout

Practitioner Health have teamed up with SHOUT to create a confidential 24/7 text service for PH patients. If you need support after hours you can Text NHSPH to 85258.

Practitioner Health is a free, confidential NHS primary care mental health and addiction service with expertise in treating health & care professionals.

www.practitionerhealth.nhs.uk

Click here to read all our latest reviews

APEX PREDATOR

Hampstead Theatre

★★

“the entire cast do as much as they can with the raw tools they’ve been given”

APEX PREDATOR

Hampstead Theatre

Reviewed on 31st March 2025

by Stacey Cullen

Photography by Ellie Kurttz

Previously reviewed at this venue:

APEX PREDATOR

APEX PREDATOR

APEX PREDATOR

SUPER HIGH RESOLUTION at the Soho Theatre

★★★

“Ellis’ text is for the most part honest and sensitive in its portrayal, highlighting the importance of seeking help”

It is a shame then, that to me, it feels Super High Resolution misses the mark in its handling of themes of suicide and self-harm.

Reviewed on 2nd November 2022

by JC Kerr

Photography by Helen Murray

Previously reviewed at this venue:

If SUPER HIGH RESOLUTION has affected you, the following resources are available; we encourage you to make use of them.

Clicking each logo will take you to the relevant website

You can contact Samaritans 24 hours a day, 365 days a year. You can call 116 123 (free from any phone), email [email protected] or visit some branches in person.

If you’re experiencing a mental health problem or supporting someone else, you can call SANEline on 0300 304 7000 (4.30pm–10.30pm every day)

Offers a supportive listening service to anyone with thoughts of suicide. You can call the National Suicide Prevention Helpline UK on 0800 689 5652 (open 24/7)

You can call the CALM on 0800 58 58 58 (5pm–midnight every day) if you are struggling and need to talk. Or if you prefer not to speak on the phone, you could try the CALM webchat service.

If you would prefer not to talk but want some mental health support, you could text SHOUT to 85258. Shout offers a confidential 24/7 text service providing support if you are in crisis and need immediate help.

If you’re under 35 and struggling with suicidal feelings, or concerned about a young person who might be struggling, you can call Papyrus HOPELINEUK on 0800 068 4141 (weekdays 10am-10pm, weekends 2pm-10pm and bank holidays 2pm–10pm), email [email protected] or text 07786 209 697.

For NHS workers

Wellbeing support by text for health and social care staff

All NHS staff can access free support by text 24/7. Text FRONTLINE to 85258 to talk by text with a trained volunteer.

Wellbeing support by telephone for health and social care staff

NHS staff in England can call 0800 069 6222 and NHS staff in Wales can call 0800 484 0555, daily from 7am–11pm.

Counselling and trauma phone helpline

Call 0300 303 4434, free and in confidence, 8am to 8pm 7 days a week.

Shout

Practitioner Health have teamed up with SHOUT to create a confidential 24/7 text service for PH patients. If you need support after hours you can Text NHSPH to 85258.

Practitioner Health is a free, confidential NHS primary care mental health and addiction service with expertise in treating health & care professionals.

www.practitionerhealth.nhs.uk