Tag Archives: Holly Pigott

Caterpillar – 4 Stars




Reviewed – 3rd September 2018


“moments of brilliance bounce straight into the laps of the audience”


Alison Carr’s intricate and confident drama, exploring all the complexities of being and feeling vulnerable, the restrictive definitions of femininity and womanhood, and feeling trapped by your circumstance, delivers across the board. Its pace escalates as the plot thickens, handled expertly by a strong cast of three, and moments of brilliance bounce straight into the laps of the audience.

We enter to washes of sea sounds, setting the scene of this uniquely English seaside town. Jac Cooper’s sound design is exactly what this production needs – the soundscapes launch Claire’s opening monologue into an optimistic stratosphere, and later underscoring at climaxes of tension immerses the audience in the characters’ distress. Carr cleverly and subtly weaves in the darkness that is revealed more clearly in the second half of the play, with double meanings and seemingly offhand remarks. This is the sign of a writer who cares about discussing people in detail. Beginning with Claire’s end is utterly bittersweet and careful. Later, when her mother Maeve defends her daughter’s character, we believe her words, having seen Claire articulate what she feels like when she is free. This makes the play’s slow twist all the more crushing – Claire’s actions are not so difficult to understand. The hard issues in Caterpillar are never portrayed crassly.

Judith Amsenga delivers a stoic performance as Claire. She disrupts any camaraderie between Maeve and Simon with jarringly harsh remarks, and is relentlessly difficult to like. At times, this was played too extremely – but director Yasmeen Arden’s decision to go too far rather than not far enough is what the piece needs. Simon’s twisted speech about the spotlessness of his deceased ‘girlfriend’ later brings home how necessary it is to have overtly dislikeable, but still wroughtly complex, female characters. It’s a challenge to audiences, who are used to women quietly holding the fort, while other people and things – including their own self esteem and mental health – have the freedom to crumble around them. Maeve, a single parent, and Claire, an unhappy mother, battle one another because they have forever been fighting the war of expectation; of what society wants from them, and says will make them happy.

Tricia Kelly’s emotional range as Maeve is riveting. She cuts through the play with excellent comic timing, which mixes in with her own quiet suffering, as she recovers from a stroke. Kelly holds the stage when on the phone to her son-in-law and grandson, and her intonation and physical flair are entrancing to watch. Maeve pressures herself to keep a clean, lighthearted and welcoming home environment, which she extends to her guest at the b&b. Alan Mahon peels back Simon’s layers to reveal an altogether more sinister core beneath his battered hang-glider. His own low self-esteem, again deftly introduced by Carr in his first conversation with Claire about a reservation mix-up through her front door, causes him to fetishise and idealise women, to seek those who are vulnerable in order to strengthen his own ego. It’s close to the bone, but it’s not unfamiliar. The best scenes occur when Simon plays alongside each of the women. These jousting matches are well-placed in the play, and Arden plots them well in the space.

Holly Pigott’s set and costume design is a harmony of sunny brights and pastels, which beautifully highlights and offsets the stage action. Some needed space is niftily created by way of a further entrance/exit, taking the characters ‘outside’ – both an escape from their claustrophobia, and a reminder of it. Ben Jacobs’ lighting design is sensual and considerate. Lighting the seaside wooden cage around the stage with LEDs is a master touch. Arden has measured and weighed every line and motion of Caterpillar, and when it is at its best, it’s hard to look away. Caterpillar is at once searingly modern and strikingly timeless, a necessary drama for now.


Reviewed by Eloïse Poulton

Photography by The Other Richard



Theatre503 until 22nd September


Previously reviewed at this venue
Her not Him | ★★★ | January 2018
Br’er Cotton | ★★★★★ | March 2018
Reared | ★★★ | April 2018
Isaac Came Home From the Mountain | ★★★★ | May 2018


Click here to see more of our latest reviews on thespyinthestalls.com



The Moor – 4 Stars


The Moor

Old Red Lion Theatre

Reviewed – 8th February 2018


“McAusland is perfect …  her terror and confusion effortlessly convincing”


Catherine Lucie’s The Moor is an eerie, atmospheric piece of drama which is perfectly suited to its venue at the Old Red Lion Theatre. Directed by Blythe Stewart, it has only a three person cast, but nevertheless is highly engaging and exciting throughout.

The story follows Bronagh, played by the wonderful Jill McAusland, as she and her husband Graeme (Oliver Britten) attempt to piece together the events of one drunken night. A man has gone missing, and they are found asking themselves if they could have had anything to do with it. The Moor retains its air of mystery throughout, drip feeding the audience information until we are finally left to decide the events of that night ourselves. It’s well thought out, and expertly executed.

Jill McAusland is perfect for the role of Bronagh, her terror and confusion effortlessly convincing. Whilst there were some questionable moments of direction – at one point Bronagh dramatically falls to the floor, a moment which isn’t at all in keeping with her character – McAusland manages to make Bronagh a complicated and believable character.

Oliver Britten and Jonny Magnati work perfectly in their roles at Graeme and Pat. Britten’s fits of rage are scarily real and terrifying, especially in such an intimate venue. Magnati makes the most of the somewhat one-dimensional role of Pat, a policeman investigating the crime.

Holly Pigott’s set is innovative, making the most of the tiny stage. The back of the stage is lined with rotating, opaque boards, which are half painted with the backdrop of the moor. The actors weave in and out of the boards, rotating them as they go, and this creates an eerie, tense atmosphere as characters can show up from anywhere. The use of sound and music (designed and composed by Anna Clock) goes on to compliment this. The Moor is highly intense, and even with its running time of 90 minutes with no interval, it doesn’t fail to keep the audience’s attention at any point.

The Moor is definitely worth seeing. Catherine Lucie’s script is thrilling, and the cast, set and sound come together to create a truly accomplished piece of theatre, and whilst there are some minor creases to iron out, the show itself is captivating and the mystery it presents will keep you wondering for hours after you have left the theatre.


Reviewed by Charlotte Cox

Photography by The Other Richard


The Moor

Old Red Lion Theatre until 3rd March



Click here to see more of our latest reviews on thespyinthestalls.com