★★★

“its infectious silliness makes for lots of big laughs”

A misinterpretation of the film ‘Jurassic Park’ sets off a Kafkaesque nightmare of university bureaucracy and conspiracy in Tim Foley’s ‘Jurassic’ at the Soho Theatre. The two-hander pits the stubborn, righteously deluded Dean of the University, ‘Dean’, against the increasingly exasperated academic Jay, driven to derangement by a misunderstanding that is costing him his sanity, as well as his job. There are plenty of fun and silly jokes in this very taut one-act play, but the balance between the far-fetched absurdist concept and genuine critique of elitism and bureaucracy is a tricky one. It can be a challenge to suspend disbelief and feel invested in Jay’s Sisyphean battle to be reinstated in the face of a post-truth campus culture.

Matt Holt’s Dean and Alastair Michael’s Jay are perfect foils for each-other, as their initial conflict – Dean’s belief that the film Jurassic Park is indeed a documentary revealing the existence of dinosaurs- costs Jay his job in the palaeontology department. The university provides an ideal setting for a tale of misinformation and power politics, with funding cuts, a perpetually absent principal, staff feuds and spilled secrets all occurring in the background. The absurd central misunderstanding demands the audience’s commitment to the bit, which we can enthusiastically give – but Dean’s initial delusion is resolved quite quickly, and this leaves space to wonder about the script’s practical corner-cutting. Questions like “Why has there been no mention of an employment tribunal?” and “Can you actually campaign to be chancellor of the university you’ve just been fired from?” plague the mind. But maybe that’s just the bureaucrat in me.

Meanwhile, particular praise must be given to movement director Yandass Ndlovu’s transition scenes, which see Dean and Jay devolve and spar with each other as prehistoric creatures. These scenes free up the play to jump forward in time effortlessly, as well as harkening back to the good old days when creatures could squawk, scratch and lunge at each other without all the red tape. Anna Short and Patch Middleton’s sound design bring a purposefully minimal, quotidian office setting to life in tense and climatic moments, and there is some great work with onstage lighting when the rivals’ feud becomes more akin to a police interrogation.

Piers Black’s slick direction means that the tug of war between Dean and Jay never grows slack. But to create forward propulsion while the characters remain locked in this stubborn power dynamic, the play introduces higher and higher stakes that occasionally deviate in tone from the play’s absurd concept. There’s a murder, which remains darkly comic but feels a little crowbarred in. Subsequently, a reveal about Jay’s own misdeeds, which have been subtly alluded to with his frequenting of student bars, do make it quite difficult to maintain the sympathy for his character that has swept the audience along on his futile journey. As the play reaches its climax, any catharsis we might feel on his behalf is marred slightly, and although the ending comes satisfying full-circle, it does stretch the possibilities of play’s universe a bit too far to feel entirely earned.

Foley’s play clearly relishes in its absurd concept, and its infectious silliness makes for lots of big laughs. Still, I think there is more satirical material to mine from this recognisable tale of faculty politics, without the introduction of some tonal inconsistencies and the completely off-the-rails plot developments, however gratifying they may be.

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

★★★★

“Renner’s script flows beautifully even though it meanders madly”

Most people, at some point in their life, have had an imaginary friend. Being shy isn’t necessarily a prerequisite for this, but it often goes hand in hand. It is liberating, like talking to a pet. One can be candid, loquacious and fearlessly honest – traits that might elude us when plunged into social situations. Not many of us, however, have switched this idea on its head. What is it actually like to be that imaginary friend? Well, the answer lies in Isabel Renner’s raunchy one-woman show, “Wyld Woman: The Legend of Shy Girl”. Renner has a theatre full of fantasy companions, and it is an absolute joy to be in their company.

Renner is the eponymous ‘shy girl’, on the cusp of throwing her first house party. She is unnamed, but we are all given tags to write our own names on as we take our seats. Some of us are seated at a table onstage, with paper cups and plates – doubtlessly pilfered from a child’s birthday party. Lucy Fowler’s realistic, studio apartment set is dominated by shades of pastel pink, offset by the optimistic glamour of silver balloons. Into this setting, ‘Shy Girl’ shuffles, hunched under the weight of her anxiety. Fidgety and nervous, and somewhat geeky – in a pared down, Emo Philips kind of way. But don’t be fooled. She may be cripplingly inhibited, but Renner herself doesn’t shy away from giving a captivating and assured performance. One that takes some unexpected turns, especially when she adopts other characters. Don’t take your maiden aunt to this show – the language is quite graphic and explicit. She’s pretty forthright, particularly when describing her first fumbling forays into foreplay. By now she has stripped down to a ludicrously Paris-themed, spangly leotard while confessing to still being a vegan “sorry… a virgin – I get them mixed up!”.

Renner’s script flows beautifully even though it meanders madly. And just as polished is Renner’s ability to switch into other characters. We meet her insufferable flatmate, Memphis; we witness her confrontations with her restaurant boss, Patrice, who would give Miranda Priestley a run for her money. Her work-mate and first-date, Pino, is hilariously and satirically portrayed (reminder – keep your maiden aunt away), as is Twilight, her sex therapist; and a leering Rock Star; and finally a gorgeous imitation of a precocious six year old – who happens to be Shy Girl’s unwitting life coach, analyst and confidante rolled into one. Each orbital character is outrageous, yet authentic and comically observed.

As Shy Girl, she is suitably self-deprecating, but beneath the outlandish humour there are layers of vulnerability. ‘You are so quiet it is hard to connect with you’ is a comment repeatedly aimed at her. The ‘cool guys’ (she calls them ‘legends’) that she invites to her party don’t show up. She has to make do with us – her imaginary friends. The relationship she builds is real and organic, and probably different from night to night, but Renner adapts with ease to the situation. It is an intimate experience that gets to the heart as well as our funny bones. While we are laughing loudly, we are quietly uncovering truths within ourselves.

Cameron King’s sharp direction makes good use of the furniture, taking advantage of Renner’s suppleness as she stretches across the table, mounts the fridge or changes an imaginary light bulb. Each movement is a cue for a joke. And each joke, a cue for something else unexpected. Renner knows that shyness is no joke, but by turning it into comedy it makes us receptive to the reality. But enough of the psychobabble, just go along for the party. She’ll be absolutely thrilled you turned up. And so will you.

JURASSIC

Soho Theatre

★★★

“its infectious silliness makes for lots of big laughs”

JURASSIC

Soho Theatre

Reviewed on 20th November 2025

by Emily Lipscombe

Photography by Chris Payne

Recently reviewed at Soho Theatre venues:

JURASSIC

JURASSIC

JURASSIC

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

★★★★

“Renner’s script flows beautifully even though it meanders madly”

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

Reviewed on 24th October 2025

by Jonathan Evans

Photography by Charlie Lyne

Previously reviewed at Southwark Playhouse venues:

WYLD WOMAN

WYLD WOMAN

WYLD WOMAN

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