Tag Archives: Rosie Sheehy

GUESS HOW MUCH I LOVE YOU?

★★★★★

Royal Court Theatre

GUESS HOW MUCH I LOVE YOU?

Royal Court Theatre

★★★★★

“keeping you engaged from start to end and revealing deep truths along the way”

A couple waits in a hospital room, on the brink of labour. To pass the time, they play 20 Questions, trying to guess a character.

“Am I alive?”

“Maybe?”

Small, playful moments that feel ordinary and deeply intimate.

Rosie Sheehy, as the woman in labour, invites us into her world with a blunt, feminist voice that is both exquisite and hilariously honest. Robert Aramayo plays her partner with warmth, playfulness, and unwavering support, matching her wit beat for beat. Together, they give the immediate sense of a couple who have been together forever, who know each other inside out, who can talk about absolutely anything.

Written by Luke Norris, the play is rich with beautiful humour and a powerful, deeply felt depiction of a relationship riding an emotional rollercoaster. The jokes are sharp and natural, immediately welcoming us into the profound bond these two people share.

It soon becomes clear that the humour does more than showcase their connection – it also acts as a shield, attempting to mask an underlying tension slowly rising beneath the surface. No one – neither the couple nor the audience – is prepared for what’s to come.

Sheehy and Aramayo’s performances are undeniably stunning. They hold you in a constant state of attention, your eyes fixed on them. Through silence, emotional vulnerability, and moments of lightness, they offer their entire emotional world with generosity and precision. Their chemistry is electric, allowing us to witness the full arc of their relationship and individual emotional journeys with striking clarity.

Lena Kaur also appears as the midwife, delivering a beautiful performance that is equally funny and grounded.

Directed by Jeremy Herrin, the transitions between scenes are beautifully handled. Grounded in a realistic set designed by Grace Smart, we move swiftly through hospital rooms and private spaces, travelling with the couple across different times and places as their story unfolds. We are with them in every moment of their life together.

The story confronts the hardest moments that any couple – or any person – may face. A recurring thread weaves through the play, returning us again and again to questions that intensify its emotional core:

How do I love you when the sun no longer makes sense?

How much do I love you when part of me no longer feels alive? When sadness takes over?

It is not a comforting, “everything will be fine” kind of show. It doesn’t promise happy endings or ideal outcomes. Instead, it offers truth about real relationships, real hardship, and the terrifying choice between leaving or staying. It is about facing yourself and the other at their worst, and choosing love anyway.

Guess How Much I Love You captures this with raw authenticity, keeping you engaged from start to end and revealing deep truths along the way.

A few scenes may linger slightly longer than necessary, but this is minor compared to the emotional richness the play leaves behind. A work of rare honesty – and an absolute must-see.

 



GUESS HOW MUCH I LOVE YOU?

Royal Court Theatre

Reviewed on 22nd January 2026

by Nasia Ntalla

Photography by Johan Persson


 

 

 

 

GUESS HOW MUCH I LOVE YOU?

GUESS HOW MUCH I LOVE YOU?

GUESS HOW MUCH I LOVE YOU?

THE BRIGHTENING AIR

★★★★

Old Vic

THE BRIGHTENING AIR

Old Vic

★★★★

“a rich and entertaining family drama”

“How are you doing?”, a priest asks jittery Dermot (Chris O’Dowd) midway through this fine new play. “I’m fine”, replies deadpan Dermot, although “the circumstances around me are challenging”.

Dermot is not alone in his plight. In the ramshackle Irish farmhouse that is the setting for Conor McPherson’s eagerly anticipated Chekhov adjacent play, the circumstances would test the most placid of souls.

The future of the farmhouse brings the family together as uneasily as opposing magnets. Three siblings own the place. Two live there and the third – Dermot amid a midlife crisis – has returned from afar thinking there’s money to be made.

He has an ally in a blind renegade priest (Seán McGinley) – their uncle – but finds himself in opposition to his brother Stephen (Brian Gleeson) and sister Billie (Rosie Sheehy) who have made the place their home, combatting the damp, fighting off foxes and shuffling cows with a mindless resilience.

Like the mouldering walls, the family tensions have been left to fester so there’s more than a reckoning about property deeds in McPherson’s atmospheric and busy play.

Elsewhere Lydia (Hannah Morrish) wants a magic potion – “water with muck in” – to win back faithless Dermot’s love, but Dermot, railing impotently against the strictures of family, has found himself beguiled by 19-year-old minx Freya (Aisling Kearns) who turns up with an air of entitlement and her own little plots to pursue.

Billie, accident-prone and on the autistic spectrum, obsesses about trains, paint and chimpanzees. She also speaks in unvarnished and abrasive truths which is a useful means to bring simmering tensions to the boil. Stephen is angry – about having to look after Billie, but also having no life, no money, no love…

Writer-director McPherson says he conceived the 1980s-set drama in an airport after he was thwarted by Covid from seeing his own adaptation of Uncle Vanya. But knowledge of Chekhov is less use than an ear for Irish dialect and an ability to keep up with the scores yet to be settled.

The title, McPherson says, comes from a WB Yeats poem, The Song of Wandering Aengus, and “encapsulates that moment where dreams meet reality, and our most important illusions fade away”.

The ensemble cast fully embraces the opportunities presented by a phenomenal script, littered with miracles, mysticism and mischief. O’Dowd is a marvel, wiry and self-pitying. He brings his immense comedic presence to a play that is very, very funny. Rosie Sheehy is by turns blunt and lyrical, even her recitations of train routes hinting at romance and adventure. Morrish and Gleeson are the stoic heartbeat of the piece.

The first acts are all about slow-burn set-up against Rae Smith’s barren farmhouse backdrop. Which means the post-interval plot twists are something of a hurried cascade. Even in a play which relies on a hint of folkloric magic, the dramas happen unfeasibly fast, relying on an overworked denouement to create a sense of theme and purpose.

Pacing aside, this is a rich and entertaining family drama, delighting in the divisions that uniquely arise from semi-strangers who are bound together by the same blood and forebears.



THE BRIGHTENING AIR

Old Vic

Reviewed on 24th April 2025

by Giles Broadbent

Photography by Manuel Harlan

 

 

 


 

 

 

Previously reviewed at this venue:

A CHRISTMAS CAROL | ★★★★★ | November 2024
THE REAL THING | ★★★★ | September 2024
MACHINAL | ★★★★ | April 2024
JUST FOR ONE DAY | ★★★★ | February 2024
A CHRISTMAS CAROL | ★★★★★ | November 2023
PYGMALION | ★★★★ | September 2023

 

 

THE BRIGHTENING AIR

THE BRIGHTENING AIR

THE BRIGHTENING AIR