★★★

“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.

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

★★★★

“Renner’s script flows beautifully even though it meanders madly”

Most people, at some point in their life, have had an imaginary friend. Being shy isn’t necessarily a prerequisite for this, but it often goes hand in hand. It is liberating, like talking to a pet. One can be candid, loquacious and fearlessly honest – traits that might elude us when plunged into social situations. Not many of us, however, have switched this idea on its head. What is it actually like to be that imaginary friend? Well, the answer lies in Isabel Renner’s raunchy one-woman show, “Wyld Woman: The Legend of Shy Girl”. Renner has a theatre full of fantasy companions, and it is an absolute joy to be in their company.

Renner is the eponymous ‘shy girl’, on the cusp of throwing her first house party. She is unnamed, but we are all given tags to write our own names on as we take our seats. Some of us are seated at a table onstage, with paper cups and plates – doubtlessly pilfered from a child’s birthday party. Lucy Fowler’s realistic, studio apartment set is dominated by shades of pastel pink, offset by the optimistic glamour of silver balloons. Into this setting, ‘Shy Girl’ shuffles, hunched under the weight of her anxiety. Fidgety and nervous, and somewhat geeky – in a pared down, Emo Philips kind of way. But don’t be fooled. She may be cripplingly inhibited, but Renner herself doesn’t shy away from giving a captivating and assured performance. One that takes some unexpected turns, especially when she adopts other characters. Don’t take your maiden aunt to this show – the language is quite graphic and explicit. She’s pretty forthright, particularly when describing her first fumbling forays into foreplay. By now she has stripped down to a ludicrously Paris-themed, spangly leotard while confessing to still being a vegan “sorry… a virgin – I get them mixed up!”.

Renner’s script flows beautifully even though it meanders madly. And just as polished is Renner’s ability to switch into other characters. We meet her insufferable flatmate, Memphis; we witness her confrontations with her restaurant boss, Patrice, who would give Miranda Priestley a run for her money. Her work-mate and first-date, Pino, is hilariously and satirically portrayed (reminder – keep your maiden aunt away), as is Twilight, her sex therapist; and a leering Rock Star; and finally a gorgeous imitation of a precocious six year old – who happens to be Shy Girl’s unwitting life coach, analyst and confidante rolled into one. Each orbital character is outrageous, yet authentic and comically observed.

As Shy Girl, she is suitably self-deprecating, but beneath the outlandish humour there are layers of vulnerability. ‘You are so quiet it is hard to connect with you’ is a comment repeatedly aimed at her. The ‘cool guys’ (she calls them ‘legends’) that she invites to her party don’t show up. She has to make do with us – her imaginary friends. The relationship she builds is real and organic, and probably different from night to night, but Renner adapts with ease to the situation. It is an intimate experience that gets to the heart as well as our funny bones. While we are laughing loudly, we are quietly uncovering truths within ourselves.

Cameron King’s sharp direction makes good use of the furniture, taking advantage of Renner’s suppleness as she stretches across the table, mounts the fridge or changes an imaginary light bulb. Each movement is a cue for a joke. And each joke, a cue for something else unexpected. Renner knows that shyness is no joke, but by turning it into comedy it makes us receptive to the reality. But enough of the psychobabble, just go along for the party. She’ll be absolutely thrilled you turned up. And so will you.

DRIFTING

Southwark Playhouse Borough

★★★

“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:

DRIFTING

DRIFTING

DRIFTING

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

★★★★

“Renner’s script flows beautifully even though it meanders madly”

WYLD WOMAN: THE LEGEND OF SHY GIRL

Southwark Playhouse Borough

Reviewed on 24th October 2025

by Jonathan Evans

Photography by Charlie Lyne

Previously reviewed at Southwark Playhouse venues:

WYLD WOMAN

WYLD WOMAN

WYLD WOMAN

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