Tag Archives: Rosie Sheehy



Old Vic

MACHINAL at the Old Vic


“a brave and exciting revival that mixes gritty absurdism with precision-cut stylisation and outstanding performances”

When Sophie Treadwell’s “Machinal” premiered in 1928, the New York Times was so intrigued that it reviewed the production twice – calling it ‘a triumph of individual distinction, gleaming with intangible beauty… an illuminating, measured drama such as we are not likely to see again’. The Times described it as a play that ‘in a hundred years… should still be vital and vivid’. Well – here we are, almost a hundred years later and – yes – it is still vital, vivid; and individual. Richard Jones’ revival at The Old Vic will ensure that Treadwell’s legacy will survive another century at the very least.

The play is inspired by (rather than based on) the real-life case of Ruth Snyder who was executed in the electric chair for the murder of her husband. Treadwell’s narrative gives us a fictionalised backstory in nine distinct episodes which describes the chain of events that leads an anonymous woman to her fate. We are shown the different phases of her life and the people she comes into contact with. Rosie Sheehy barely leaves the stage during her extraordinary portrayal of this ordinary woman. A woman who never finds her place. Never finds peace. Driven to eccentricity; disturbed and constrained, but essentially tender and pliable while the life around her is hard and mechanised.

It is a highly impersonal world in which the characters have no names. As a result, they don’t attract much sympathy and while we are drawn into their expressionist world, we are not invited to have any emotional involvement. It is the rhythm of the piece that keeps us going along for the ride. Jones’ direction is as stylish and stylised as the writing, although he is just one cog in the machine. Benjamin Grant’s discordant, staccato soundscape chimes with Adam Silverman’s lighting that both punctuate and underscore the narrative. Sarah Fahie is credited as movement director, but choreographer is a more apt description. Even Hyemi Shin’s mustard-tinged, claustrophobic set seems to have rehearsed its movements in time to the clockwork dialogue and the pulse of the play.

Repetition informs the action, adding to the sense of unease and entrapment our protagonist feels. She quits her humdrum job by marrying the boss – a misogynist who regards his wife as a business acquisition, yet Tim Francis brilliantly manages to find a very likeable eccentricity to an otherwise despicably outdated personality. Unfortunately, she can’t seem to just ‘quit’ her marriage, which eventually leads her to the extreme measures of murder, having bizarrely got the idea from a chance remark made by her lover (Pierro Niel-Mee). The feminist message is somewhat sabotaged along the way. And we never quite understand her detachment, nor indeed her disproportionate, sadistic treatment of her nagging, potato-obsessed mother (a wonderfully colourful and funny Buffy Davis).

Although a few of the scenes are drawn out, the pace never drags. We might not sympathise, but we enjoy the absurdity immensely. It is another world but uncomfortably like our own. Although we can see Kafkaesque influences, it is almost impossible to believe that “Machinal” was written a century ago; and we are also reminded of those that Treadwell has influenced in turn. This is a brave and exciting revival that mixes gritty absurdism with precision-cut stylisation and outstanding performances.


MACHINAL at the Old Vic

Reviewed on 18th April 2024

by Jonathan Evans

Photography by Manuel Harlan




Previously reviewed at this venue:

JUST FOR ONE DAY | ★★★★ | February 2024
A CHRISTMAS CAROL | ★★★★★ | November 2023
PYGMALION | ★★★★ | September 2023



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Anna X

Anna X

VAULT Festival

Anna X

Anna X

The Vaults

Reviewed – 14th March 2019



“Sheehy’s control of her character is phenomenal”


Welcome to New York City’s most elite social scene. It’s made up of trust fund kids, twenty-something tech CEOs, and futurist entrepreneurs. It’s 2016: Billy MacFarland is securing millions from investment giants for Fyre Festival: an event he has no ability to materialise. But that doesn’t matter. Because somewhere along the way, the idea – the concept, the online image – has become more important than reality.

This is the New York 24-year-old Anna steps into. Anyone following the Anna Delvey scandal will need no introduction to the play’s protagonist. Written by Joseph Charlton and directed by Daniel Raggett, Anna X beautifully, articulately captures the “playground” of New York City, and the smart, ambitious young people hustling to play its games.

Charlton’s script follows Anna (Rosie Sheehy), a mysterious Russian girl based on the real-life Delvey, who arrives in the city armed with designer clothes, intimidating knowledge of modern art, a lit Instagram, and stacks of $100s in cash. She is perfectly poised to infiltrate an echelon that knows next-to-nothing about art and fashion, but heaps value on those that do (or seem to). It’s rich soil for imposters, and Anna – who comes from nothing but claims she’s worth $60 million – flourishes.

Charlton adds a second character, Ariel (Joshua James), an MIT grad with an idea for a dating app valued at $200 million. Although Ariel is fictional, he may be a good approximation of the sort of nouveau riche tech guys who would have been in Anna’s circle: her ‘friends’ who somehow always ended up with the bill at the end of her wild nights.

The play’s use of projected media – displaying impressionistic cityscape backgrounds – creates an appropriately artistic and chaotic aesthetic. A brilliant opening scene has Anna and Ariel at an “immersive nightlife experience”, shouting to each other over blaring EDM. Their lines, obscured by the music, are projected on the wall for the audience to read. It’s an ingenious representation of the incomprehensible swirl of art and tech currently dominating New York’s trendiest scenes.

Sheehy’s control of her character is phenomenal. With excellent command of the Russian accent, she fluently communicates Anna’s contempt for the people around her, while occasionally allowing a childlike brightness to shine through. Sheehy, perhaps like Anna, understands the aloof coldness, which may be common in eastern Europe, is disorienting enough to Americans to unbalance them. She effortlessly demonstrates that indifference in Alexander Wang sportswear is a magnetic kind of cool. James is excellent as the earnest Ariel. Together they have great chemistry, and easily power through the rapid, intense pace of the show.

Although Anna may have harboured disdain for the socialites she conned, the play shows no animosity toward her. There’s real skill in Charlton’s ability to reveal the humanity under her manipulation. His play argues that Anna was trying to get ahead like anyone else. If her cunning took her higher than most, then it was that much further to fall.


Reviewed by Addison Waite

Photography by Lidia Crisafulli


Vault Festival 2019

Anna X

Part of VAULT Festival 2019




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