Tag Archives: Julian Starr

AN INSTINCT

★★★½

Old Red Lion Theatre

AN INSTINCT

Old Red Lion Theatre

★★★½

“a brave piece of theatre”

An Instinct is an inside look into coercive control, manipulation and makes you question everything. Littered with moments of shock, suspense and humour this play really takes you on a journey to an alternate experience of our once lived lockdown days.

Written by Hugo Timbrell, we are transported back to the beginning of COVID, to a cabin in the middle of the woods where we find ex lovers Max (Conor Dumbrell) and Charlie (Ben Norris) who have reunited to face isolation together.

Dumbrell and Norris are great at setting the tone and mood immediately. We see two people figuring out a situation together, but as we are drip fed information, we start to question everything presented to us. As we watch our main characters battle with trust, loyalty and the lack of both, we as an audience also ask the same questions and battle with the reality being played out. By the time our third player, Tom (Joe Walsham) enters the scene – there is a strong desire for the truth amongst the characters and audience alike.

Timbrell has created a brave piece of theatre here. There is a real understanding for how manipulation, gaslighting and passive aggressiveness play out without being biased. You are shown all sides of a story and are left to make your own judgements. He makes large, bold choices in the dynamics of the plot, with light comedy appearing throughout. The writing is very clever, clear and consistent – keeping you hooked in the twists and turns.

An Instinct is a thriller which can sometimes be a tricky genre, especially with the pressure of being able to lure your audience into anticipation ready to be thrilled. There are a couple of jump scare moments that can catch any audience member unaware, and we are pulled into a very unstable environment that is rife with mistrust. However there are also moments where the play runs the risk of being awkward.

The actors do well to sustain character and drive the plot through its highs and lows, but it’s a hard job to keep the suspense of a thriller, especially in theatre without the glitz and glamour of TV and film tricks. This pressure was almost too much for our actors at times. This didn’t take too much away from the play, and didn’t leave a bad taste, in fact it was a fun experience and audiences can take something away from it.

Director Lucy Foster delivered superbly. The transitions, the use of space and blocking of the actors are flawless and really lets us into their world by reinforcing that fourth wall and giving us a real “fly on a wall” experience. The sound (Julian Starr) and lighting (Caelan Oram) really supports the realism of the whole production and all the tricks and effects are used perfectly. Well worth seeing.



AN INSTINCT

Old Red Lion Theatre

Reviewed on 19th November 2025

by Paige Wilson-Lawrence

Photography by Craig Fuller


 

Previously reviewed at this venue:

CURATING | ★★ | November 2025
DEATH BELLES | ★★★½ | October 2025
FRAT | ★★ | May 2025
EDGING | ★★★ | September 2023
THIS IS NORMAL | ★★★★ | September 2023

 

 

AN INSTINCT

AN INSTINCT

AN INSTINCT

THE WANDERERS

★★★

Marylebone Theatre

THE WANDERERS

Marylebone Theatre

★★★

“a tough piece to engage with”

‘The Wanderers’, directed by Igor Golyak, maps two different marriages within the Jewish experience: one, an Orthodox and very traditional family, and another – set pretty much now – a liberal, well-educated couple from Brooklyn. Abe, (Alex Forsyth) the protagonist, binds the two units together as the son of the former. He is a prolific and successful novelist who is heavily inspired by Philip Roth (a minor warning sign). He and his wife Sophie are both writers, but she has subdued her own (less successful) career to service her husband’s very successful one whilst she cares for the children. After one of his book readings, Abe begins an ethically dubious and emotionally charged email affair with famous actor, Julia (Anna Popplewell). But all is not as it seems.

It is the visual language and metaphor of this play which elevates it. The set (Jan Pappelbaum) features a transparent screen divides the stage horizontally. It is engaged with in a multitude of creative ways, holding much symbolic weight. Throughout the piece, different characters draw props and key words onto the screen. This is very striking: for example, a square becomes a laptop dividing two characters engaged in their email correspondence. This device also cleverly externalises Abe and Sophie’s writerly minds – a useful way of expressing rich interiority. Golyak’s visual landscape here is both attractive and idiosyncratic.

It does, however, work to compensate for the for subpar dialogue and plot. Given that ‘The Wanderers’ centres around two – supposedly excellent – writers, it’s hard to cognitively marry this with the demonstrably unimaginative dialogue and action. The characters, though well-acted, are uncompelling and lack charisma, which makes the whole piece a bit of a schlep.

The acting, to reiterate, is successful. Popplewell is lovely as famous actor, Julia. So too is Katerina Tannenbaum as beleaguered Esther, who spends most of her time drowning in the misery of marital misogyny and boredom. Paksie Vernon as Abe’s maligned wife works well and with integrity. Forsyth is also very watchable, even if his character, unlike his wife, lacks any discernible integrity. Part of the issue here derives from the fact that this show focuses on a sort of male fantasy, inspired by the Philip Roth imaginary. Personally, I feel that angle has been rinsed, and in the absence of nuanced comment to develop this discourse in any way, it flounders as the premise for a show.

It’s hard to pinpoint the purpose of this play: there are gestures towards inherited fictions and the traps of imagination, but these are not adequately developed. Besides the visual spectacle, aided by some excellent lighting (Alex Musgrave), it’s a tough piece to engage with. Not tough to grapple with conceptually, but tough to discern the concepts in the first place.

A big commendation should be noted though: majority of the cast and creative team are actually Jewish – a rarity in the field of representation. We should celebrate Jewish theatre, but I don’t know what the Jewishness in this play offered, or really what ‘The Wanderers’ was trying to offer as a piece of art.



THE WANDERERS

Marylebone Theatre

Reviewed on 22nd October 2025

by Violet Howson

Photography by Mark Senior


 

Previously reviewed at this venue:

SEAGULL: TRUE STORY | ★★★★★ | September 2025
A ROLE TO DIE FOR | ★★★★ | July 2025
ALICE IN WONDERLAND | ★★★ | July 2025
FAYGELE | ★★★★★ | May 2025
WHITE ROSE | ★★ | March 2025
WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK | ★★★★ | October 2024

 

 

THE WANDERERS

THE WANDERERS

THE WANDERERS