Tag Archives: Colin Campbell




Omnibus Theatre



Omnibus Theatre

Reviewed – 13th February 2020



“All three actors are at their best as Liam, lively and energetic and sad”


In rural Ireland, three friends meet to commemorate something that happened 17 years ago – the death of their mate Liam. But none of them are 17 anymore, and the night is a mix of memory and present day revelations. It’s supposed to be a big one – 17 years later, and 17 when he died, but the rest of the lads are in town for the birthday of someone none of them know, and only Pa, Barry and Cusack show up to mark the anniversary. Still, they line up the cans, Pa passes out the drugs and they get the darts out.

The whole play (set and costume design by Naomi Faughnan) is set in the shack they used to go to, the gang of them, when they were teenagers. There’s a single flashing strip light (lighting design Zia Bergin-Holly), empty beer cans, faded deck chairs, candles, a table the wrong way up, a bed and mattress separated on either side of the room. It’s a claustrophobic space, and outside all we can hear is rain pouring down (sound design Peter Power).

Occasionally the pace is too slow, and the piece as a whole does feel longer than it needs to be. But the actors help to carry it through. Rhys Dunlop plays Pa, perhaps the character most in pain, still reeling, apparently living more in the past than in any kind of future. He delivers a particularly moving performance as the story unfolds. Barry is played by Colin Campbell, again another very convincing performance, whilst Conor Madden plays Cusack, the new father of the group, who has some lovely moments although begins acting drunk too early which makes the mid-point of his performance feel repetitive.

Each actor takes a turn to morph into Liam and deliver a monologue in three pieces which tells the story of what really happened the night he died. All three actors are at their best as Liam, lively and energetic and sad.

Flights, written by John O’Donovan and directed here by Thomas Martin is a poignant play about grief and about male friendships. It’s about the way that people change as they get older, set in an Ireland none of them are quite ready to leave.


Reviewed by Amelia Brown

Photography by Ste Murray



Omnibus Theatre until 29th February


Last ten shows reviewed at this venue:
The Orchestra | ★★★ | January 2019
Lipstick: A Fairy Tale Of Iran | ★★★ | February 2019
Tony’s Last Tape | ★★★★ | April 2019
Country Music | ★★★★ | May 2019
Othello: Remixed | ★★★★ | June 2019
Lone Star Diner | ★★★ | September 2019
Femme Fatale | ★★ | October 2019
Fiji | ★★★★★ | November 2019
The Little Prince | ★★★★ | December 2019
The Glass Will Shatter | ★★★★ | January 2020


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Cuckoo – 3 Stars



Soho Theatre

Reviewed – 16th November 2018


“The Soho Theatre is a place to experiment. Cuckoo tried, it didn’t fail but it didn’t completely succeed”


The Soho Theatre is a hotbed for new comedy and drama. It is a testing ground for the weird and wonderful to see if it sinks or swims in the ocean of live entertainment. Currently on offer in the upstairs space is ‘Cuckoo’. Set in a small Irish village, we follow its adolescent inhabitants, as some struggle through the opportunity of leaving home, while others struggle through not being able to leave at all. Cuckoo is a story of gender, small town thinking, friendship and fried chicken.

The story written by Lisa Carroll follows the mute gender non-conforming Pingu (Elise Heaven), the loud mouth but often humorous Iona (Caitriona Ennis) and the gang of Pockets (Colin Campbell), Trix (Peter Newington) and Toller (Sade Malone).

Cuckoo itself is interesting exploring something that most people have dealt with, leaving home and is it worth it? It’s structured well and packs a lot of humour, especially into tiny Iona’s character. Despite this, the story seems to drag. The running time of an hour and fifty minutes could be cut by at least half an hour to tighten everything up. By the end, it felt sloppy and almost irrelevant because of this overly long runtime.

What is evident though, is that the performances are solid and that can partially be attributed to Debbie Hannan’s adept direction. However, Caitriona Ennis as Iona is the stand out performer. Her comedic timing is really what saves the show and makes the full running time a little easier to cope with.

The Soho Theatre is a place to experiment. Cuckoo tried, it didn’t fail but it didn’t completely succeed. This show needs a bit of work, but with changes, it could hugely entertaining.


Reviewed by Shaun Dicks

Photography by David Gill



Soho Theatre until 8th December


Previously reviewed at this venue:
Denim: World Tour | ★★★★★ | January 2018
Dust | ★★★★★ | February 2018
Francesco de Carlo: Comfort Zone | ★★★★ | May 2018
Great British Mysteries | ★★★½ | May 2018
Sarah Kendall: One-Seventeen | ★★★★ | May 2018
Sugar Baby | ★★★★ | May 2018
Flesh & Bone | ★★★★★ | July 2018
There but for the Grace of God (Go I) | ★★★★ | August 2018
Fabric | ★★★★ | September 2018
The Political History of Smack and Crack | ★★★★ | September 2018
Pickle Jar | ★★★★★ | October 2018


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