Claire Marlowe Archives - thespyinthestalls.com

★★★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.

Normality

The Other Palace

Reviewed – 19th September

★★★

“A louder voice, greater dynamic variation and some brutal editing are needed to keep it afloat in the current swamp of new musicals”

The deluge of new musicals on the London theatre scene is a double-edged sword. Whilst this might please devotees of the genre, the wider appeal inevitably evaporates. And for composers and producers, this overcrowding adds its own challenges. The annual BEAM festival for new musicals, for example, received over three hundred pitches to be whittled down to fifty, while the West End continues to churn out re-issues, jukebox musicals, imports and any old film titles.

Thankfully there are now theatres dedicated to developing and promoting new musicals. The Other Palace is at the forefront of this movement, accepting submissions year-round as well as staging its ‘new musical workshop sharings’ where the audience is at the core of the process, witnessing the evolving show and offering feedback. “Normality” is one such musical testing the water. Subtitled “A Musical Guide to Quantifying Love in a World of Frauds and Scammers”, it is as quirky and zestful as its tag line suggests. Writers Jules Kleiser and Nige Reid are both song writers/musicians and have written the score for a four-piece rock band and ten voices. Under Charlotte Peters’ stylish direction, the cast of ten fill the stage, and the auditorium, creating a host of characters without feeling overcrowded.

At the centre is Norman Goodman, a small town, prog-rock obsessed keyboard player, with a nerdiness that is off the scale. Thinking that he is auditioning for a life changing gig he has, in fact, wandered into a corporate interview for a dodgy City trading company. Failing the interview, he nevertheless impresses by fixing the office computer. Invited to design an IT system to predict market trends for the firm, he then unwittingly finds himself embroiled in a Machiavellian financial scam. Norman’s narrow outlook on life is cruelly broadened as he battles with the dilemma of who to trust; a quandary he equates to a scientific equation.

The musical opens with too soft a punch. The band, placed up in the gallery, lack the volume to prick up the ears. But one quickly realises that this is to compensate for the singers not using mics. Whether this is an artistic or financial decision is unclear, but it does lead to problems of projection. Much of the libretto is lost during the solo numbers, particularly when some of the melodies wander beyond the actors’ vocal range. This is not ‘legit’ musical theatre, so the inconsistent quality of the singing can be forgiven, and where technique is occasionally lacking it is certainly made up for by character. Dan Buckley, in fine voice as Norman, is believable as the wunderkind with a heart, while Siobhan Athwal’s love interest mixes a no-nonsense steeliness with a true-hearted empathy. Ken Christiansen is all cockney brass as the bulldog CEO, unaware that all around him are ready to pull the carpet from underneath him. Claire Marlowe stands out as the privileged, upper class Lady Cocksure, with more faces than the town clock, who is intent on bringing everybody down.

But nothing unexpected really happens; either in the comedy, the dialogue or the score. With the exception of a refreshingly surreal Tango and a Ska infused number the soundtrack is quite monotone. It is like the composers are handling the material with kid gloves. There is a rawness to the satire of the book that is unmatched by a slightly reticent, almost polite, delivery of the guitar-based numbers. A louder voice, greater dynamic variation and some brutal editing are needed to keep it afloat in the current swamp of new musicals. At present it feels adrift in its own deference.

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

The Other Palace

Reviewed – 19th September

★★★

“A louder voice, greater dynamic variation and some brutal editing are needed to keep it afloat in the current swamp of new musicals”

Reviewed by Jonathan Evans

Jonathan Evans

The Other Palace until 21st September

Previously reviewed at this venue:

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