★★★★★

“finds a way to provide the powerless with a voice in this epic performance”

“At what point does someone have so many flaws, that they can no longer be considered a good guy?” This is the question that Lucy knows that she must ask her friends when their housemate, Jacob, is accused of something awful. The situation is stark enough; Megan, Lucy, Sam and Will suddenly find themselves living with someone who has been accused of rape. The idea seems ludicrous; such awful crimes are committed by terrible people a long way away from the safety of their university house. However, when a bombshell revelation brings the sickening horror of the situation into their own home, the friends are forced to confront something worse than they could have imagined.

Disposable delves into the lives of a group of university students, but more specifically, focusses on the dark path that awaits many young people. Rapidly changing societal norms have turned modern dating into a chaotic, fast-scrolling experiment in connection, something that is so craved but so often seems out of reach, leaving a feeling of being disposable. Social media provides constant comparison between the highlights of other people’s lives and the reality of our own, fuelling the shallow, performance-driven arena that university nightlife can be. These are critical themes, and it is vital that they are given this platform to be laid bare, but these serve as a prelude to the most important subject matter of the play: consent and the guilt and blame that victims feel after the event.

The play is a difficult watch, at times, owing to the darkness of the topics it dares to confront. In the UK, 82% of women over the age of 18 have been sexually harassed, leaving no clearer indication that there is something that we are getting wrong as a society. Becky Bond, who both wrote the show and also plays the role of Megan, courageously tackles these issues and leaves nothing off the page with this script. This feels like a plea to society’s reluctance to have difficult but necessary conversations. The writing is spellbinding throughout, with the mood of the play delicately maintained over the whole performance.

Arguably the most consequential character in the play is Jacob, the man at the centre of these accusations. Jacob is a popular but boisterous individual who thinks that being a “straight, white man”, makes him a target. In most of his interactions, he is so normal that it seems impossible to reconcile him with what we hear. We will all either know or have met people like him. Paddy Lintin is remarkably convincing in this role, demonstrating an incredible emotional range.

The remaining characters Lucy, Sam and Will (Amaarah Roze, Sukey Willis, William Huk) give us further insight, but from the perspectives of friends rather than perpetrator or victim. The endless regret and hurt of those close by is palpable. The direction (Elodie Foray) to extract all of this power from the story is special.

Disposable finds a way to provide the powerless with a voice in this epic performance. There may be no more timely and important show to go and see, with bigger things surely awaiting this masterful production.

BLESSINGS

Riverside Studios

★★★

“acted with eloquence and assurance by an outstanding cast”

We find ourselves in the year 1969. It’s an era many look back on with nostalgia — a time often imagined as simpler and less complicated. People had less, but were happier. For people of my age, all that we know is that which is taught to us by our parents and grandparents, or what we may have learned from documentaries. The setting for this play exactly matches the vivid, idyllic depiction that we have of this period.

The subjects of this narrative are the Deacon family. Again, they are typical of their era. Frank Deacon (Gary Webster) is the breadwinner, and Dorie is the stay-at-home Mum. Two of the four children, Martin and Penny, have moved out but are home often enough, while the other two: Frances and Sally, remain living at home. It all seems normal – and that ordinariness is the point; if things seem normal, then they are normal. Blessings is an intriguing tale about the story of a family yet to come to terms with its own secrets, where the cover-up may be worse than the truths that are uncovered.

One of the most impressive aspects of this play is its authenticity to the time in which it is set. Sarah Shelton’s writing is delicately detailed, dropping in countless era-specific references. The family discuss the first moon landing which would take place a few months later. The Troubles in Northern Ireland are the biggest thing in the news. Frances and Sally talk about going to see “that new Michael Caine film: The Italian Job”, while the brutal murders masterminded by Charles Manson can be heard described on the radio.

The set and costume design is equally as impressive (Alice Carroll). Patterned wallpaper adorns the back wall. A Beatles LP can be seen by the radio and the daughters are seen reading from the teen magazine ‘Jackie’. Simple staging — a bench and table on either side of the room — creates three distinct locations, allowing scenes to flow smoothly.

The star quality of the performance comes from Emily Lane who plays the role of Sally Deacon. Sally emerges as the focal point, with all storylines connecting through her She faces the painful honesty of her family, who “don’t really see her in a career,” yet her resilience shines through as she drives the story to its climax. It’s a performance that reflects Lane’s West End pedigree.

Gary Webster and Freddie Webster are praiseworthy in their roles too. Both actors take on two roles with skill, particularly Gary Webster, doubling as Frank Deacon and parish priest Father O’Brien. While their performances are excellent, the play suffers from the fact that these characters are never on stage together, which would add a new dimension to the show.

The plot twist is wonderfully delivered by the cast in a fitting finale, however, this scene, is slightly rushed and when it does arrive takes us by surprise, rather than the crescendo it should have been. Nonetheless, the play is acted with eloquence and assurance by an outstanding cast.

DISPOSABLE

Union Theatre

★★★★★

“finds a way to provide the powerless with a voice in this epic performance”

DISPOSABLE

Union Theatre

Reviewed on 7th November 2025y

by Luke Goscomb

Photography by Noelle Vaughn

Previously reviewed at this venue:

DISPOSABLE

DISPOSABLE

DISPOSABLE

BLESSINGS

Riverside Studios

★★★

“acted with eloquence and assurance by an outstanding cast”

BLESSINGS

Riverside Studios

Reviewed on 2nd October 2025

by Luke Goscomb

Photography by Lidia Crisafulli

Previously reviewed at this venue:

BLESSINGS

BLESSINGS

BLESSINGS

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