Tag Archives: Velenzia Spearpoint




Arcola Theatre

UNION at the Arcola Theatre



“amongst the yelling and huffing, there are a lot of poignant and heartfelt moments in Union”


Given the state liberal politics is currently in, it’s understandable there would be a sense of panicked urgency in trying to get an important message across; the time for nuance is over, the time for yelling is now. But didactic theatre, which this ends up being, isn’t super fun for a few reasons: Firstly, no-one likes being yelled at for 90 minutes. Sure, art isn’t always pleasant, but it is supposed to be affective, and after a while this starts to feel less like theatre and more like a public service announcement.

Secondly, if you’ve got a leftist agenda, sermonising to an off-west end theatre audience is likely preaching to the choir. I can’t imagine many passionate capitalists are signing up to see a play about a big-time property developer having a moral crisis. That being said, amongst the yelling and huffing, there are a lot of poignant and heartfelt moments in Union.

Saskia is at the peak of her career. She’s about to sign her biggest development deal which will potentially lead to partnership. But in a moment of insanity- or clarity- she flees the meeting before signing, changes into her very expensive Lycra gear and decides to run the many miles home through London, meeting a plethora of colourful characters along the way, each with a little lesson to impart.

Writer Max Wilkinson’s 2021 play Rainer feels very much like the seed for Union: One main character flies through London, clearly having a breakdown and meeting all sorts on her journey. But where Rainer was focused on a singular experience of personal trauma, Union uses Saskia’s meltdown to convey a much bigger issue: the capitalist sterilisation of big cities. This feels like a more interesting use of the trope, and the script itself feels more sophisticated.

Director Wiebke Green’s recent credits include Philip Ridley’s Poltergeist, The Beast Will Rise, and Tarantula. There’s a definite link between Union and old hand Ridley’s works, but it’s hard to know how much comes from the writing and how much the production. Union has the same non-stop intensity, the same amped up spiralling and the same inevitable ‘big reveal’ when the audience learns a crucial piece of information that explains the aforementioned spiralling, all of which have become Ridley’s trademarks. It’s affecting, sure, but it’s also a bit formulaic now. And just as I found it hard to focus during Ridley’s 85-minute rant Poltergeist last year, I find Union too consistently high-strung to remain interested.

Maintaining this level of high-energy performance, though, is undoubtedly impressive. Dominique Tipper as Saskia never lets up, pounding the stage and virtually spitting out her dialogue throughout. She’s convincing as both the cutthroat corporatist and the wavering moralist. When she leaps back into her teenage past she avoids that often cloying, babyish performance so many people give, and instead presents young Saskia as fully formed if still malleable and vulnerable to sinister forces.

As it happens, set and costume designer Kit Hinchcliffe also worked on Ridley’s Poltergeist, but where there was only one character to dress, and no costume changes, in this production she’s had a little more opportunity to stretch herself. All costume changes happen in full view, with the help of two very full clothing racks. This keeps all the energy on stage, rather than any hurried exits and entries. And given you couldn’t very well design the whole of Regent’s Canal, Hinchcliffe has opted for a near empty stage, and the visible unworn costumes give a little colour to the production.

While this might easily have been a one-person play, with Tipper merely jumping between characters, we have the added pleasure of Sorcha Kennedy and Andre Bullock playing all the bit parts as well as giving live sound effects such as panicked heavy breathing and crying babies. For the most part, this works really well, giving an extra dimension to an otherwise singular voice, and also creating the impression that Saskia is being watched- not just by an audience of 100, but by judging parties in her own world.

Both Kennedy and Bullock are excellent chameleons, using quick costume changes to transform into any number of people. The only time it doesn’t quite fit is with Saskia’s husband Leon. Where every other character is enjoyably cartoonish in comparison to the multi-faceted Saskia, Leon should really be slightly more detailed in order for their complicated alliance to make sense, and this just isn’t possible when Kennedy is switching characters in 30 seconds with the mere addition of a hat and glasses.

The aggressive development of London, or as one character says, the turning of the world in to “one big f*cking Pret” is a real and scary issue. Wilkinson has, in a lot of ways, hit the nail on the head. It’s just that he’s hit it a little too hard.


UNION at the Arcola Theatre

Reviewed on 25th July 2023

by Miriam Sallon


Photography by Lidia Crisafulli



Previously reviewed at this venue:


Duck | ★★★★ | June 2023
Possession | ★★★★★ | June 2023
Under The Black Rock | ★★★ | March 2023
The Mistake | ★★★★ | January 2023
The Poltergeist | ★★½ | October 2022
The Apology | ★★★★ | September 2022
L’Incoronazione Di Poppea | ★★★★ | July 2022
Rainer | ★★★★★ | October 2021



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The Buzz – 3 Stars


The Buzz

Bread & Roses Theatre

Reviewed – 10th May 2018


“a prescient rather than topical piece of writing, nevertheless this undernourished production seems to miss an opportunity”


Something smells fresh at The Bread and Roses theatre, with a new artistic director, new writing talent and emerging actors all involved in The Buzz, one of three winning plays from the theatre’s 2016/17 competition for new works. Lydia Rynne’s dark comedy addresses the dubious ethics of celebrity through the persona of Kyla (Sassy Clyde), a once well-known TV star now reduced to being ‘a famous elbow’ intruding into the cropped photos of her popstar partner, Josh (Andrew Umerah), on the red carpet.

The show starts promisingly. Still buzzing after Josh’s triumphant night at the awards, the celebrity couple return to their shared penthouse to enjoy the event’s coverage on TV and social media. As Josh retires and Kyla drinks alone, her dropout brother Nate (Gabriel Cagan) visits, seemingly to tease her about her obsession with fame and berate her neglect of her family. Implausibly, he then sends her out for more alcohol, whereupon his partner-in-protest Cordelia (who humorously prefers the name ‘Anon’) joins him to drug and truss up the rock star, hoping to extract a confession of tax evasion. Matters deteriorate into black farce as Kyla returns and Cordelia blurts out another, more disturbing narrative.

As a promising new writer, Lydia Rynne and the actors could have hoped for firmer direction. Characterisations wander and the reliability of testimonies dissipates in a morass of unclear motivations. Andrew Umerah portrays the entitlement of success well, but finds it harder to keep up when the character becomes more ambiguous. Similarly, Sassy Clyde plays the wise-cracking lass from Chorley with no problems, but her character is supposed to have known fame and is still addicted to the idea of stardom. To be plausible, more steel and composure is needed, whereas Hannah Duffy’s conflicted Cordelia breezes in, emotionally committed in performance as if from another genre. Gabriel Cagan is solid as Nate, playing the anti-establishment squatter with all the naivety and angst the stereotype demands.

As incoming artistic director, Velenzia Spearpoint’s direction of her own first production may be an overreach. The unimaginative set (Sally Hardcastle) with its cardboard gold records feels more suited to Nate’s squatter community than to a global superstar, though it’s greatly helped by Chuma Emembolu on the sound desk, managing the output of the invisible big screen TV like a Dad with the remote control.

The nature of the line-up makes this a take on celebrity derived from the media rather experience, all white rugs and pink drinks. However, in the final moments the play hits a live cable, evoking recent celebrity rape scandals, the abuse of power and stifling of the female voice. Given the competition predates the scandals, The Buzz is a prescient rather than topical piece of writing, nevertheless this undernourished production seems to miss an opportunity.


Reviewed by Dominic Gettins


The Buzz

Bread & Roses Theatre until 19th May


How related
Blue Moon | ★★★ | January 2018
 F*ckingLifeMate | ★★★★★ | March 2018


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