★★★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.

BETTE & JOAN

Park Theatre

★★★★

“A stupendous performance … witty and moving”

Set conflicts, long lived feuds and a peek in the life of the big Hollywood stars. After series like Ryan Murphy’s Feud and Hollywood started swarming the media, it’s clear that audiences want to see what unfolds behind the camera lens. Bette Davis and Joan Crawford had a complicated professional relationship that had its ups and downs (mainly its downs). In Bette and Joan by Anton Burge, the actress and the movie star face each other in a battle for dominance.

The show begins with them introducing themselves and giving us a taste of their personalities in their respective dressing rooms. The exposition is necessary, but also tiring, especially if one’s familiar with the stars and their lives. But actors Greta Scacchi (who plays Bette Davis) and Felicity Dean (who plays Joan Crawford) are doing an excellent job of keeping us intrigued and absolutely hooked. They’re getting ready to shoot a scene of Whatever Happened to Baby Jane, the famous picture that brought them back to the spotlight and skyrocketed both of their careers once again. The second half seems to be somewhat similar to the first, offering some electrifying moments between the actresses and some touching monologues about their respective personal lives.

It’s a trip down memory lane, which is enjoyable, but doesn’t really lead anywhere. Capturing the vast range of this relationship in two hours is impossible, but under the direction of Sue Jenkins, the actors’ great performances make us step out of the auditorium gratified. The tricky detail about this production is that it’s not enough to portray the real people accurately, but find the sweet spot of hostility and antagonism. Scacchi and Dean succeed triumphantly, as we see them separately, but also interacting, their dynamic full of fire that brings laughter to the audience. The way Dean inhabits the viper-like lady who’s always ready to strike while keeping up appearances and sticking to good manners is mesmerising, with every hand gesture being refined and elegant. Through her monologue about Crawford’s mother and upbringing she shows her highly skilled craft, contrasting Scacchi’s direct and confrontational approach.

The set, designed by Neil Gordon, is magnificent, one of the highlights of the show I dare say. A double dressing room with little details that make each side unique and that brings out the theme of duality. After all, the two stars might come from different backgrounds, but they have more in common than they want to admit, fighting bravely to make it in a cruel industry, where youth and money is one’s currency. Lighting, designed by Joe Pilling, is an interesting mixture of vanity mirror light bulbs and spotlights that focuses the audience’s attention to the appropriate side of the stage, making it easier to follow the narrative. Pip Thurlow’s sound design is minimal, which is exactly what this piece needs as we’re focusing on the words rather than distracting stylisations.

A stupendous performance that remind us that under all the glamour of Hollywood’s golden era, actors are still people, capable of being petty, competitive and deeply vulnerable. The show is witty and moving, even if at times one wishes we’d get more scenes with the actors being together, in order to get a better taste of their relationship.

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

BETTE & JOAN

Park Theatre

★★★★

“A stupendous performance … witty and moving”

BETTE & JOAN at Park Theatre

Reviewed on 5th December 2024

by Stephanie Christodoulidou

Photography by Simon Annand

Previously reviewed at this venue:

BETTE & JOAN

BETTE & JOAN

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