★★

“the entire cast do as much as they can with the raw tools they’ve been given”

Has the time arrived for a new vampire story? John Donnelly thinks so. But unfortunately, his newest play, Apex Predator, can’t quite seem to decide what it wants to be — a commentary on postpartum depression and psychosis, or a horror-comedy about vampirism as an allegory for modern life. In trying to straddle the line between both worlds, it never really succeeds at either.

From the opening moment, we are reminded that London is a city of violence. Not only that, but no one in this city is going to help you, not really. If you expect to survive, you’re going to have to be strong. But Mia (Sophie Melville) is hardly feeling strong at the moment — her newborn, Isla, won’t feed. Her son, Alfie (Callum Knowelden), is being bullied at school. And on top of it all, her husband Joe (Bryan Dick) is sometimes away for days at his secretive job. When he does come home, they mostly bicker. Mia is exhausted. The neighbours are a nuisance, throwing parties with loud music, forcing Mia to bounce Isla to sleep night after night, and Joe seems… well, entirely unbothered by this. If anything, he appears agitated that his wife is having a tough time. Enter Alfie’s new art teacher, Ana (Laura Whitmore), who may just be able to offer Mia a way forward. The premise is interesting, if a bit old hat. How do we protect ourselves, but especially our children, in a world that grows more dangerous by the day? It’s unfortunate that each idea in the script feels under-developed, spawning into some new thread, while we ache for the previous thread to be tied.

Blanche McIntyre’s direction is confusing at times. Moments that feel like they deserve a bit more room to breathe are quite rushed, namely Mia and Ana’s very first meeting. Mia has rushed to Alfie’s school, to assert her son’s right to defend himself — he’s bitten another child, which feels like a bit of a flat pun, given the subject matter — and Ana switches from critical school bureaucrat to close confidante in ten seconds or less. Some dialogue is played for uncomfortable laughs, when the topic at hand feels anything but funny. In one specific moment, Mia runs round and round in circles, trying to find an escape, when there’s a relatively obvious one in front of her — a door that someone else has walked in through, just moments before. Whether this is down to McIntyre or the production’s Movement Director, Ingrid Mackinnon, is difficult to say.

But there are bright spots here. Whitmore is excellent as Ana, despite her character’s somewhat unconvincing arc. Melville is fascinating to watch as she swings between clarity and madness. Truthfully, the entire cast do as much as they can with the raw tools they’ve been given. The lighting and sound design (Jack Knowles and Chris Shutt, respectively) work together quite synergistically, particularly in a very short scene during the second act that evokes a moment from a slick on-screen horror. It’s just a shame that the story as written doesn’t allow for more of these gorgeous vignettes. The set design (Tom Piper) is excellent making great use of a relatively small space, surrounded by imposing scaffolding. The claustrophobia, the grit of a city like London is keenly felt.

All in all, the potential is there. One simply wishes that Donnelly had — forgive me — sunk his teeth in a bit deeper.

KIM’S CONVENIENCE at the Park Theatre

★★★★

“funny and warm, balancing real laughs with touching moments”

This is the U.K. premiere of a beloved Canadian play, originally staged in 2011, which spawned a highly successful five season CBS TV series. The show became an international hit after being broadcast on Netflix.

Ins Choi, who wrote and starred in the original, has returned to the cast, but is now starring as the father of his previous character. There is something moving in the cycles of time that this represents. It is in keeping with the themes of the play, which explores intergenerational relationships, and the very different struggles of first and second generation immigrants.

The play follows Mr Kim (Choi) known as Appa by his family, as he wrestles with plans for the future of his convenience store. For him, his wife (Namju Go), his daughter, struggling photographer Janet (Jennifer Kim) and his estranged son Jung (Brian Law) this place represents far more than just a store – it is a burden, a legacy and a curse.

Choi’s script is funny and warm, balancing real laughs with touching moments that makes the play feel genuine and moving. Esther Jun’s directing is energetic and joyous.

“Ins Choi’s performance is sublime”

There are some moments which are played for laughs in a way which may detract from the deeper emotions. I struggled with some of the comedy violence, especially in light of the discussions throughout the play about Appa’s history of violent temper tantrums. Controversial comedy is at the heart of this play, and some of the shock factor moments still feel as taboo in 2023 as they must have in 2011. Much of this comes through discussions of race, especially when Mr Kim talks about black people. Miles Mitchell, who multi-roles all non-Kim family parts in the play, is black, and Mr Kim interacts with this in a way which is at times hard to watch. Some moments are hilarious, in a cringe comedy way, but some are truly difficult.

Ins Choi’s performance is sublime, he keeps the tragedy of Mr Kim bubbling under the surface, allowing us to forgive his more unpleasant moments. Namju Go is also powerful as Mrs Kim. Her performance is subtle and moving. At some points she and Choi speak in Korean, but the strength of their performances means non-Korean speakers can follow along easily. It adds to the feeling that the audience is peeking into a private moment in the lives of this family. Miles Mitchell is also a particular standout, effortlessly shifting between roles and bringing depth to every minor character.

Mona Camille’s set is built as a convenience store, with actual snacks and packets of cigarettes. It is meticulous and evocative.

Jonathan Chan’s lighting design manages to conjure both the strip store lighting of the corner store, as well as shifting to create memory sequences. It plays both with extreme naturalism and a nod to the opposite, and is beautifully thought through.

This is a play about people who are rarely the stars of plays. It is a small snippet of a very real life. I can see why this play was vital in 2011 and why it has enjoyed such success in Canada. Nearly 15 years on, it does feel less fresh, but the warmth and charm has remained.

APEX PREDATOR

Hampstead Theatre

★★

“the entire cast do as much as they can with the raw tools they’ve been given”

APEX PREDATOR

Hampstead Theatre

Reviewed on 31st March 2025

by Stacey Cullen

Photography by Ellie Kurttz

Previously reviewed at this venue:

APEX PREDATOR

APEX PREDATOR

APEX PREDATOR

KIM’S CONVENIENCE at the Park Theatre

★★★★

“funny and warm, balancing real laughs with touching moments”

“Ins Choi’s performance is sublime”

KIM’S CONVENIENCE at the Park Theatre

Reviewed on 12th January 2024

by Auriol Reddaway

Photography by Mark Douet

Previously reviewed at this venue:

KIM’S CONVENIENCE

KIM’S CONVENIENCE