Tag Archives: Emily Carewe








Reviewed – 25th February 2020



“Without being too polemical Greer gives clarity to a very difficult discussion with plenty of humour and humanity”


Throughout discussions popularised by the #MeToo social media campaign, there seems to have been a disconnect within the idea that since pretty much all women have experienced sexual assault in one form or another, it stands to reason that a whole bunch of men, and not just a handful of evil predators, have been doing it.

Perhaps the difficulty in swallowing this pill is due to the shades of horror that fall within the sexual assault bracket: no, not every man is Harvey Weinstein, but that doesn’t mean that a crime hasn’t been committed and that a woman doesn’t have the right to speak up.

Gillian Greer’s Meat seeks to navigate this very tricky arena. Max (India Mullen) has arranged to meet up with her college boyfriend Ronan (Sean Fox) to let him know she’s written about the night he assaulted her and that it’s going to be published. But Ronan claims he remembers it very differently, or is it that he doesn’t remember it at all? He’s a bit hazy on the subject.

This isn’t about whether Ronan is a villain. Rather it’s about recognising that he is, as Max puts it, “a good guy who did a shit thing.”

A story like this requires a lot of personality and Greer delivers. Mullen and Fox have a well-worn patter that feels natural and affectionate even when they’re fighting. Much of the script is taken up with friendly banter, giving the audience plenty of space to place Ronan’s transgression within a wider picture.

Jo (Elinor Lawless), manager of Ronan’s restaurant and interested party, is an excellent addition to the script because whilst she doesn’t play a pivotal role, nonetheless her character is absolutely necessary, as witness and judge to the night’s events. We’re never led to the brink of disbelieving Max, but our loyalties waver throughout, and Lawless serves as an excellent barometer in this regard. Her comic delivery is also masterful, near-on stealing the show. Set in Ronan’s fancy new meat restaurant (designed by Rachel Stone), animal carcases provide a disturbing backdrop and a constant reminder that we are in Ronan’s domain, making Max’s position all the more uncomfortable as she tries to stand her ground.

Instead of clearing the table between courses, food is thrown on the floor and smeared on the walls, which makes sense when Ronan comes to flip the table in a rage, but not a minute sooner. It’s not terribly distracting, but there just doesn’t seem to be any reason, beside it being difficult to artfully splatter food all over the stage in one table flip without covering the front row in foie gras.

The narrative drags a little in the middle, leaving me to wonder if there’s any more to say on the matter once the premise is set out, but the story does pick up and develop, and whilst there are no real surprises, the plot is- forgive the pun- surprisingly meaty.

As directed by Lucy Jane Atkinson, Meat is very much a story for the current climate. Without being too polemical Greer gives clarity to a very difficult discussion with plenty of humour and humanity.


Reviewed by Miriam Sallon

Photography by Alex Brenner



Theatre503 until 14th March


Previously reviewed at this venue:
Cuzco | ★★★ | January 2019
Wolfie | ★★★★★ | March 2019
The Amber Trap | ★★★ | April 2019
J’Ouvert | ★★★★ | June 2019
A Partnership | ★★★ | October 2019
Out Of Sorts | ★★★★ | October 2019
Spiderfly | ★★★★★ | November 2019
A Fairytale Revolution | ★★★★ | December 2019
Fragments Of A Complicated Mind | ★★★★ | January 2020


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Review of Miracle on 34th Street – 5 Stars


Miracle on 34th Street:
A Live Musical Radio Play

Bridge House Theatre

Reviewed – 29th November 2017


“Richard Albrecht’s portrayal of Kris Kringle is absolutely spot-on  I refuse to believe he isn’t actually Santa Claus”


Do you believe in Santa Claus? Experience Guy Retallack’s production of this festive tale and I have no doubt that you will. 

The show is framed as a radio play within a play, with the six actors seated in a row at the back of the stage. Set in a recording studio the cast shares two microphones at the front, but this does not cause the performers to become static. In fact, their ability to weave around each other and perform energetic numbers around the microphone stands is what makes the show so uniquely entertaining.

The creative team have achieved so much with what is on face value, so little in terms of staging a Christmas spectacle. Props (Fiona Martin) are minimal and used mainly to indicate changes in character or provide “radio” sound effects. There are clever touches like a flashing ‘ON AIR’ sign and a station logo on the backdrop. Lighting (Joseph Ed Thomas) is used well to transition between busy scenes and more intimate conversations.

It’s hard to pick a standout member of the cast when everyone’s performances were of such a high standard. Richard Albrecht’s portrayal of Kris Kringle is absolutely spot-on I refuse to believe he isn’t actually Santa Claus. Jamie Ross deserves high praise for his role as the Announcer and as the Musical Director. He narrates, provides sounds effects and musical accompaniment, with a voice and mannerisms so period appropriate he seems to have stepped out of a time machine and on to the stage. Lowenna Melrose (Doris Walker) and Ellis Dackombe (Fred Gailey) are powerful performers with excellent chemistry as the romantic leads. All the cast members take on more than one role, with Amy Reitsma delivering a wide range of characters with equal brilliance.

The musical numbers were impressive and helped to quicken the pace of a dialogue heavy piece. Carols are given a 1940s makeover with original songs provided by Jon Lorenz. Emily Carewe’s (Susan Walker) rendition of a number about believing in Kris Kringle is a particularly touching moment.

Personal highlights were the West-Side Story inspired version of ‘Santa Claus is Coming to Town’ during a tense confrontation scene, the 1940s-esque radio adverts for local businesses (shout-out to the Bluebelle Café!), and a musical ode to the US Postal service.

A perfect balance of heart-warming and entertaining, this show was so brilliant I forgot it wasn’t actually being transmitted to the nation!



Reviewed by Ella McCarron

Photography by Nick Rutter



Miracle on 34th Street

is at the Bridge House Theatre until 23rd December



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