★★★½

“a deeply moving story”

Monster arrives on stage again after a highly-acclaimed run at the Park Theatre. The story delves deeply into the ongoing cycles of abuse and bravely explores some harrowing subjects, asking difficult questions about forgiveness.

Set against an affecting backdrop of newspaper articles about abuse (a nice malleable set design by Felix Waters), Monster tells the story of Kayleigh Grey (Abigail Hood) and her troubled childhood, before taking us on a journey through the consequences of abuse. The play begins by displaying Kayleigh and Zoe’s (Lauren Downie) hilarious teenage relationship, packing the opening five minutes with jokes that epitomise their chemistry, along with foreshadowing information we later learn about the abuse Kayleigh suffers. The writing, by Abigail Hood, moves the story through continuously darker events, as the comedy that is rampant in Act 1, dissipates in an Act 2 ripe with hard consequences. There are many hard-hitting duologues that are full of attack vs defence.

Hood expertly deals with the sensitivity of the topics explored in the play and moves the story along well. Although, at times, there feels like a bit too much reminiscing between characters, veering into exposition, this develops clear context for the audience and allows us to immerse ourselves in its world. It is painfully written as we often don’t know who to feel sorry for, and we have to ask ourselves who the real ‘Monster’ of the story really is. Kevin Tomlinson’s directing provides an engrossing pace and we really feel the frantic nature of the story. Some of the music in between scenes in the second act is affecting, however it’s generally a bit of a distraction, with the transitions starting and ending abruptly.

Abigail Hood is mesmerising as Kayleigh. She is convincing at all stages of her life and forces the audience to question where to place blame. The ensemble work coherently together and all the relationships are believable. A highlight of the supporting cast is Lisa Ellis as Mrs Hastie. Ellis provides an incredibly emotional mother, teacher, and human, that we feel deep pity for. She provides one of the most moving moments of the play and pours emotion into the role. Lauren Downie has bags of optimism behind her eyes that we hate to see disappear and Sarah Waddell is deeply authentic as an abuser and a victim of abuse.

The overarching message of the story is a bit hard to swallow as it feels slightly unsatisfying, but it is engrossing and we are deeply invested in the lives of these characters. Also, it would have been nice to have seen some of the rehabilitation Kayleigh went through, rather than skipping past it all. Regardless, this is a deeply moving story that provokes crucial questions about abuse.

SPIRAL at Jermyn Street Theatre

★★

“There were so many opportunities to explore interesting nuances that were missed”

This play doesn’t know what it wants to be. A study of vulnerability and coercive control? A tense thriller where we are left doubting the intentions of a seemingly kindly English teacher? An exploration of grief, loss and hope? By stretching itself too thin, Spiral achieves none of these and results in a confusing and uncomfortable show. Only the energy of writer Abigail Hood, who also stars in the central role of Leah, and a sensitive performance from Jasper Jacob as the grieving Tom save Spiral from total destruction.

Spiral opens with a meeting between a young woman dressed in school uniform, and an older man in an apparently transactional relationship. We then discover that despite the seedy undertones, Tom has hired Leah as a coping mechanism to deal with the stress wrought by the mysterious disappearance of his daughter several months prior. The reason for the schoolgirl get up? Leah is a doppelgänger for his missing daughter. Tom and Leah strike up an unlikely friendship, which challenges Tom’s relationship with his wife Gill (Rebecca Crankshaw) and tarnishes his reputation in his community which is – quite understandably – suspicious of his intentions.

The staging is simple. Newspaper cuttings paste the floor and five small blocks are the only substantial items on set. Highlighted phrases in the cuttings appear to reference the case of Tom’s missing daughter, which is an interesting choice when the disappearance is treated as an accessory to the main plot, and the circumstances not explored in depth. The stage felt underutilised, the vast majority of scenes played out as if on a proscenium arch and not in a compact black box space.

The direction (Kevin Tomlinson, who also appears as Mark) is uneven. Actors are often static, with limited use of the space or different levels. A moment with stylised and sexualised play between Leah and Mark therefore jars with the rest of production, and I wish there was more done to make other scenes more visually interesting. Where props are used, sometimes they clutter the stage, resulting in clumsy clean ups between scenes. Portrayals of violence are brief and unsubtle which reduces the tension despite Tomlinson depicting truly horrible abuse.

There were so many opportunities to explore interesting nuances that were missed. While Tom finds Leah, Gill finds alcohol and religion. How much comfort can these really give? How problematic are they for her? We never get to find out. How much does she really suspect Tom for involvement in her daughter’s disappearance? Is she to blame for not trusting him? All unexplored.

Another frustration: the sexual politics are outdated. Leah only escorts at the behest of her scrounging pimp and boyfriend, showing little to no agency, and requires ‘saving’ by Tom, to whom she is eternally grateful. Leah is portrayed as uncomplicatedly pure; the abuse she has suffered through her life has not tarnished her ultimately sunny outlook. As the ‘ideal’ victim, I found her hard to believe, and a little uninteresting as a result.

I would love to watch Hood in another production, as she has a warmth and vibrancy that lights up the stage. Jacob and Crankshaw are also fine actors, able to communicate a devastating range of emotions, even when not the focal point of scenes. It is just a shame that Spiral does not have the subtlety or ambiguity to allow its actors to find real emotional depths.

Tag Archives: Kevin Tomlinson

MONSTER

★★★½

Seven Dials Playhouse

MONSTER

Seven Dials Playhouse

★★★½

“a deeply moving story”

MONSTER

Seven Dials Playhouse

Reviewed on 30th September 2025

by James Simons

Photography by Benkin Photography

Previously reviewed at this venue:

STORMS, MAYBE SNOW | ★ | September 2025

BLUE | ★★★★ | March 2024

SUNSETS | ★★ | September 2023

STEVE | ★★★★ | February 2022

MONSTER

MONSTER

MONSTER

Spiral

★★

Jermyn Street Theatre

SPIRAL at Jermyn Street Theatre

★★

“There were so many opportunities to explore interesting nuances that were missed”