Tag Archives: Ramps on the Moon

One Under


Theatre Royal Plymouth

One Under

One Under

Theatre Royal Plymouth

Reviewed – 24th October 2019



“being brave enough to leave parts of the story untold pushes this drama into a different league”


A young man jumps in front of a train. An act witnessed by the driver, Cyrus (Stanley J. Browne) who sits and waits to be interviewed by the police. His colleague reassures him that this will all be textbook. A few questions, make a statement. Cyrus will be offered a few weeks off work to recover. His colleague urges him to keep his testimony short and to the point; no ifs or buts. No-one wants an inquest.

But Cyrus has doubts – did the boy wave at him, just before he jumped? Did he mean to jump at all? We fast forward a few months, meeting Nella, the boy’s mother. She has befriended a local man, eager to help out doing jobs around the house, digging the garden. Cyrus has found the boy’s family, and makes himself indispensable. He is convinced that Sonny (Reece Pantry) has left clues behind. An unfinished drink, a launderette ticket. The fall is just the start of the story.

Cyrus begins an obsessive journey into Sonny’s last days – he urges Nella to remember any detail that may help, while Sonny’s sister Zoe (Evlyne Oyedokun) becomes aware of the stranger who has worked his way into her mother’s life. As she learns more about him, it becomes clear that Cyrus’ motivation runs far deeper than the cleansing of guilt.

Like every good thriller, One Under doesn’t leave us with every plot point examined; some threads are left exposed. What this production does especially well is to focus on the complex web of relationships that tell the story.

Diving in and out of the past, we are piecing together the narrative, a chain of events, just like Cyrus. We are led through a maze, first this possibility, then the next. But here, every false turn leads us closer to the truth. It isn’t until the final scene, and the last card is revealed, that we uncover a truth far more unsettling than previously imagined.

One Under, written by Winsome Pinnock, tackles some weighty subjects: suicide, trauma, the impact of grief. But cleverly, Pinnock frames the play’s ideas about these subjects against a handful of characters. To counter the dark nature of what is being discussed, Pinnock applies a lightness of touch – a spare set, just a few props and a cast of five. It stops us from feeling overwhelmed – it also gives the moments of heightened drama a real potency. Director Amit Sharma keeps a tight hold of the story; moving us quickly from past and present, home and work; perception and reality.

During the play’s 90 minutes, we become acquainted with the characters. A mother’s grief – so clearly visible that she clings to the kindness of strangers; a man haunted by an accident, turning his life upside down in the pursuit of answers. The cast work together beautifully, with Clare Louise English as Christine, and Shenagh Govan as Nella, in particular grounding the play with an emotional realism.

By using the thriller genre, One Under moves away from the ordinary; a sense of the domestic shifts dramatically into tension and fear. The key change is palpable, as the energy moves, and we find ourselves wrong-footed yet again.

One Under is a keenly enjoyable experience – and being brave enough to leave parts of the story untold pushes this drama into a different league. Complex and darkly satisfying, One Under proves that when drama moves beyond formula, anything can happen.


Reviewed by Helen Tope

Photography by Patrick Baldwin


One Under

Theatre Royal Plymouth until 26th Octobers




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Tommy – 4*



Theatre Royal Stratford East

Opening Night – 12th June 2017




“an energetic and sensory delight”


The Who’s Tommy returns to London at the Theatre Royal Stratford East with an energetic production from the New Wolsey Theatre Ipswich in collaboration with Ramps on the Moon. Whilst it has been quite some time since the rock musical, based on the 1969 film Tommy, has graced the British stage and the chance of it appearing aged and irrelevant is high, this production propelled the 60s anthems and its themes into the social climate of 2017.

The story, set in post-war Britain, follows Tommy, the “deaf, dumb and blind kid,” who becomes a “pinball wizard” and goes from being rejected by his peers to becoming their new icon. It is told through an energetic soundtrack led through Robert Hyman’s beautiful musical direction, which doesn’t give the audience time to review some of the absurdities within the play’s story.

It is the perfect musical for challenging the ways in which those with disabilities, in particular disabled artists, are viewed in society. There is frequent comparison between the institutionalisation of disabled people in post-war Britain and the ways in which some of those sentiments prevail in certain places within society today. This, however, is certainly not the focus of the production and is a more about the accessibility of the show itself.


Adam Langstaff, William Grint and Becky Barry



The show is championed on its choreography (Mark Smith), beautifully incorporating British Sign Language into the movement and dancing in each scene. The chorus, were incredibly energetic and combined their instrumental skills with their other established theatrical abilities. It was an energetic and sensory delight from the very beginning and whilst the second half was overshadowed by the vitality of the first, the production ended on an absolute high.

Tommy, is truly an inclusively sensual experience which at times, like many rock musicals, felt like more concert rather than a musical. The exceptional lighting design from Arnim Freiss really captured the essence of the post-war setting, switching frequently between a colourful display to represent the growing youth movements of the time, as well as a growing sense of community and love, and a more muted tone for scenes displaying more sombre moments in the performance.

It was clear from the production, and the energy within the theatre, that this was a pure collaborative performance attached to a wider creative community of London-based disabled and non-disabled artists. Ramps on the Moon is a ‘ground-breaking touring project that signals a step change in disability arts provision in the UK’ through collaborating a group of six theatres across the country who are committed to centralise their programmes around Deaf and disabled artists.


Reviewed by Claire Minnitt



Tommy is at the Theatre Royal Stratford East until 17th June