PARTY SEASON

Royal and Derngate Theatre

★★★

“You’ll be laughing one minute and welling up the next”

Wardrobe Ensemble’s latest creation, ‘Party Season’ – premiering at the Royal & Derngate ahead of its UK tour – delivers sharp humour and real poignancy, capturing the chaos and tenderness of new parenthood. The script could use a little tightening, but it’s still a funny, touching ride for anyone who’s been there.

After moving back home unexpectedly, Xander’s faced with a manic weekend of solo parenting that drags old memories to the surface. As past and present collide, can he break old patterns before they break him?

Devised by the Wardrobe Ensemble and cast, with dramaturgical support from Tom Brennan, expect lots of sharp, funny insights into parenthood. From first party panic to newborn exhaustion, and child-free privilege to the relentless parents’ WhatsApp group, it nails the highs and lows. There’s real heart too, with Simone’s breathtaking monologue on motherhood landing with lyrical force. However, as a devised piece, it feels composed of discrete sections which don’t always cohere. Simone’s horror film-esque jump scares jar with her motherhood monologue, and the barrage of text messages and voice notes – while hilarious – feels over emphasised. Crucially, the emotional thread of the piece – Xander’s troubled relationship with his late father – doesn’t quite get the payoff it deserves. With a little reshaping this could be something really special.

o directors Helena Seneca and Jesse Jones, with trainee assistant Gracie Eve, deliver some standout moments. The snappy use of tech – especially the explosive phone sequence – really makes scenes pop, and the movement work is beautifully judged. Doors create various moods, from feeling on the outside to feeling trapped. Other elements work less well: the Entertainer’s opener could do with a little more spark; the “children’s” switch from kneeling to standing is a little awkward; and a few characters stay caricatures while others deepen. Still, it’s confident, inventive work.

Bronia Housman’s single set is stunning: the cheery balloons feel both carefree and untethered, and the forced perspective doorways add a subtle house of horrors edge. Housman’s naturalistic costumes keep the story grounded in real people. Beth Duke’s sound design brings the world to life with pop brightness and tense ambience, while Chris Swain’s slick lighting delivers both high energy punch and quiet emotional depth. Together with assistant designer Miranda Cattermole, the design really stands out.

The ensemble of cast and devisors clicks with real cohesion. Tom England gives Xander searching emotional depth, and Kerry Lovell’s multi roling is pitch perfect, especially the quietly devastating motherhood monologue. Fowzia Madar brings warmth and nuance as Bea, while Jesse Meadows’ Celia is a comic highlight, even if the script limits Celia’s emotional arc. Ben Vardy’s grounded David is a great counterpoint, and James Newton offers engaging contrast between the endearing Felix and knowing Entertainer. Jacade Simpson’s Kane and Aonghus are sharply drawn and very funny. A strong, well matched cast.

‘Party Season’ brings a little more party than punch, but its take on parenthood still hits home. You’ll be laughing one minute and welling up the next, so catch it on tour while you can.

PARTY SEASON

Royal and Derngate Theatre then UK Tour continues

Reviewed on 10th April 2026

by Hannah Bothelton

Photography by Paul Blakemore

PARTY SEASON

★★★★★

“It is one of the finest pieces of theatre I have seen”

Simple8 present an ambitious adaptation (by Sebastian Armesto) of Herman Melville’s epic 1851 adventure, directed by Jesse Jones. There is a minimal set (designer Kate Bunce) of scaffolding on either side of the stage. Through the haze can be discerned a cache of musical instruments – fiddle, cello, dulcimer, drum.

Ishmael (Mark Arends) – a well-spoken, well-dressed schoolmaster – sets the scene. He has come to Nantucket to join a whaling ship, just for the experience. As he moves from bar to bar, he hears talk of the mysterious one-legged Captain Ahab, and the name Moby Dick, anathema to many, whispered in hushed tones. Overnight, Ishmael befriends the gentle savage Queequeg (Tom Swale), and together they join the whaling ship Pequod, fatefully chosen at random.

Now the story can start in earnest. The stage is transformed as the brilliant ensemble, singing and playing throughout, builds an impression of the ship using just wooden planks and ropes. A life at sea is recreated – swabbing the deck, sharing some rum, singing songs. If much of the period dialogue is somewhat stilted, the ensemble excels at their dumbshow set-pieces. The crew man the capstan, turning the imaginary wheel with cries of heave and haul, the efforts of their hard work clear to see. A beautiful rendition of a sailing ballad is heard (Jonathan Charles musical director) as the backcloth shines in green and blue reflecting on the romance of the sea (Johanna Town lighting designer).

And then the spell is broken by the sighting of the crew’s first whale. A most brilliantly conceived and executed scene ensues. The crew row out to chase the whale, to subsequently haul it in and demonstrably kill it. The stage is flooded with red light to emphasize the bloody nature of the deed. It is one of the finest pieces of theatre I have seen.

The narrative, as in the novel, is driven by Ishmael and Mark Arends gives a towering performance in this central role – quietly spoken but assured. Captain Ahab (Guy Rhys) does a lot of shouting – the mantra is “Kill Moby Dick” – but we don’t get to the bottom of his obsession beyond that of having lost a leg. The well-spoken Hannah Emanuel gives rather a too light touch in the important role of Mr Starbuck who is the only crew member able to stand up to Ahab. Something more appropriately rougher is provided by the first mates (James Newton & William Pennington). But this is ultimately an ensemble piece with music and movement (Rachael Nanyonjo movement director) central to the storytelling and this talented cast of actor-musicians are excellent throughout. Special mention too for the cellist whose imitative sounds of whale music, especially during the final chase, is so central to the effectiveness and poignancy of the scenes.

Tag Archives: James Newton

PARTY SEASON

★★★

UK Tour

PARTY SEASON

Royal and Derngate Theatre

★★★

“You’ll be laughing one minute and welling up the next”

PARTY SEASON