Tag Archives: Mark Douet

DRIFTING

★★★

Southwark Playhouse Borough

DRIFTING

Southwark Playhouse Borough

★★★

“a darkly humorous, moving, and slightly unconventional tribute to a lost generation”

‘Drifting’, written and directed by Andrew Muir in collaboration with Ardent8 Ensemble, brings an underrepresented group of actors to the London stage – those from a predominantly working-class background. This is laudable and to be highly commended in an industry increasingly dominated by those who come from wealth and class privilege.

The play is set against a backdrop of a coastal town shrouded in sea mist – but for the twenty-six-year-old protagonist of the piece convincingly played by Trae Walsh – the mist is more of a fog that threatens to obscure his dream of escaping to the big city. This young university graduate, who has stacked shelves in the local retail park for some years, is in part, reluctant to move on out of loyalty to both his girlfriend and parents and perhaps also fear of the unknown. ‘Drifting’ explores the economic uncertainty and courage it takes to pursue a different path and will certainly resonate with the younger generation. ‘Drifting’ also resonates broadly, as its theme of life-changing decisions is universal.

There is much humour in this piece and occasional moments of joy although this is often undercut by a sense of the characters making do and scraping by. In one moment, out of pent-up frustration for his predicament, our young protagonist claims that ‘the closest I’ll get to Naples is fucking Nando’s.’

The actors work well as an ensemble and there is much raw talent on display here including that of Walsh who plays the Young Man. Toby Batt – the father who works as a taxi driver, and Phoebe Woodbridge the mother, also pull off playing much older characters and their well-meaning but small-town mentality is convincing and emotionally relatable. Lewis Allen’s well observed portrayal of a supermarket manager who has sold out to the system is often hilarious and Yarrow Spillane too puts in a fine performance as the Young Man’s girlfriend who is quite happy staying put.

Bethan Wall, the set and costume designer, has provided the audience with a set that highlights important themes in the play and includes scaffolding, an enormous ladder and flickering promenade lights. Characters either climb the huge ladder as low paid workers to stack shelves or in a desperate attempt to escape the often-grim reality of living in a deprived coastal town.

There is a strong rhythm and forward momentum to the writing particularly in the earlier scenes. The script is also interwoven with a poetic lyricism which helps to give greater depth and richness to the piece. As do the more tender moments between some of the characters: the dance between the young man and his friend and work colleague (beautifully played by Amirah Alabere) and the portrayal of the working-class parents whose love for their son is ultimately misguided. However, some departures into fantasy and surrealism, although well-intentioned and ambitious, I felt were at times more mystifying than mysterious. The ending of the play also doesn’t quite hit the mark as the line between realism, surrealism and social commentary is blurred and consequently somewhat confusing.

‘Drifting’ follows close on the heels of another play (‘The Chaos That Has Been And Will No Doubt Return’) also staged recently at Southwark Playhouse . This too centred around a working-class character who wished to escape from his small town. Southwark Playhouse deserves credit for showcasing these voices; ‘Drifting’ is a darkly humorous, moving, and slightly unconventional tribute to a lost generation.



DRIFTING

Southwark Playhouse Borough

Reviewed on 18th November 2025

by Tim Graves

Photography by Mark Douet


 

Recently reviewed at Southwark Playhouse venues:

GWENDA’S GARAGE | ★★★ | November 2025
WYLD WOMAN: THE LEGEND OF SHY GIRL | ★★★★ | October 2025
HOT MESS | ★★★★★ | October 2025
LIFERS | ★★★ | October 2025
THE CHAOS THAT HAS BEEN AND WILL NO DOUBT RETURN | ★★★★★ | September 2025
THE ANIMATOR | ★★★ | August 2025
BRIXTON CALLING | ★★★★ | July 2025
THE WHITE CHIP | ★★★★ | July 2025

 

 

DRIFTING

DRIFTING

DRIFTING

THE MEAT KINGS! (INC.) OF BROOKLYN HEIGHTS

★★★★

Park Theatre

THE MEAT KINGS! (INC.) OF BROOKLYN HEIGHTS

Park Theatre

★★★★

“Director George Turvey keeps the play dynamic and ever surprising”

Hannah Doran’s feisty new play The Meat Kings! (Inc.) of Brooklyn Heights beat 1,588 competitors to win Papatango’s 2024 New Writing Prize and you can see why. A love story, workplace rivalries, second chances, deceit and high stakes (if you’ll indulge the pun) are all coursing through the cutting room of a family-run butcher shop.

Two apprentice butchers find themselves in competition for a promotion, and as their cut test is fast approaching, they enlist the help of their colleagues to win at any price. With raw meat and sharp knives on stainless-steel counters, and the thrum of salsa music in the background, the butchery is a pressure cooker as America’s structural violence swirls outside. Impossible health care costs, corporate takeovers driving out small business owners, and anti-immigration policies all become intensely personal as each of Doran’s finely drawn characters tries to survive.

From the moment the actors enter dancing and teasing one another to sound designer Asaf Zohar’s compelling soundtrack, the acting is uniformly strong. As Billy, Ash Hunter is jaded and vulnerable in equal measure. Mithra Malek, as the vegetarian T, is grounded and never pushes – so her rush of rage toward the end feels earned and raw. Jackie Clune’s Paula is incredibly believable, her no-nonsense warmth and urgency giving pace and push to the rest. And Marcello Cruz plays the fresh-faced naïve “Dreamer” with just enough playfulness and sincerity that you can’t help but fall in love. Dialect coach Caitlin Stegemoller ensures their Brooklyn accents are all pitch perfect.

Director George Turvey keeps the play dynamic and ever surprising, leaving us with a powerful and unsettling image that begs the question – who and what is really being butchered here? Mona Camille’s set design and Bethany Gupwell’s lighting not only evoke a butcher shop’s back room, contained with its curtains of translucent strips of plastic, but the well-calibrated wing lighting constantly reminds us of the pulsing world off-stage as well – the front of the shop, the refrigerated backroom where the meat is kept, the rough streets beyond.

And this is the ultimate strength of Doran’s play – how it brings the damaged outside world into the personal lives of the characters, exploring the extent to which our individual choices make a difference in the face of broader inequities and bigotry. T’s somewhat sanctimonious speech in the last third of the play admonishing her cousin Billy’s tendency to blame the system for his mistakes is the only false note as it oversimplifies and undercuts what is otherwise a very sophisticated and complex exploration of America’s predicament. As ICE becomes a household name, as New York elects its new mayor, this is a play that is even more relevant and haunting today than it was when it was written last year.



THE MEAT KINGS! (INC.) OF BROOKLYN HEIGHTS

Park Theatre

Reviewed on 4th November 2025

by Samantha Karr

Photography by Mark Douet


 

Previously reviewed at this venue:

KINDLING | ★★½ | October 2025
LEE | ★★★½ | September 2025
(GOD SAVE MY) NORTHERN SOUL | ★★ | September 2025
VERMIN | ★★★★ | September 2025
THE GATHERED LEAVES | ★★★★ | August 2025
LOST WATCHES | ★★★ | August 2025
THAT BASTARD, PUCCINI! | ★★★★★ | July 2025
OUR COSMIC DUST | ★★★ | June 2025
OUTPATIENT | ★★★★ | May 2025
CONVERSATIONS AFTER SEX | ★★★ | May 2025

 

 

THE MEAT KINGS

THE MEAT KINGS

THE MEAT KINGS