Pretend – Lion & Unicorn Theatre, Kentish Town

Writer: Jess Kambitsis 
Director:  Lucinda Freeburn

Reviewer: Christine Stanton

“Backstage Brilliance“

4.5 / 5

The job of an actor is to pretend – to completely embody a character that’s often vastly different to themselves. But in real life, how many secrets, thoughts left unsaid and tenuous relationships are wrapped away under a layer of pretence? Set in a dressing room during a six-week West End run, Pretend follows the cast of four actors who are all playing a part, both on and off-stage. 

The narrative is shown as a series of snapshot scenes, with the cast reflecting after each performance. Coming off-stage, with the buzz of a standing ovation in one scene and frustrated after a slightly botched first act during the interval in another. These snippets into the behind the scenes of the cast is interesting, and brilliantly realistic, but it’s the dynamic between the four and their lives outside of the theatre that is the real hook.  

Cat (Harriett O’Grady) and Molly (Emily Dilworth) are in a relationship, and although it’s early days, Cat is completely besotted. Sophie (Gabriela Gibbs) has recently broken up with her boyfriend, but the distraction of the show helps keep her upbeat persona alive. Emma (Jess Kambitsis) has recently started a new relationship, but as ‘the other woman’, which she hopes won’t be the case for much longer. When an unplanned pregnancy is discovered near the end of the run, the actor has has to make a choice, one which will change her life forever, regardless of which path she takes.  

Running at only 40 minutes long, in comparison to the advertised 60, it’s a very short show, that could definitely be lengthened.  Each of the characters are so well defined, with intriguing backstories, that some extra scenes focusing on their individual life circumstances would be welcomed. There are a few avenues that could be explored with a bit more time – Molly’s potential ‘nepo baby’ casting, Cat’s experience as a black woman in theatre and Emma’s upbringing in foster care are all mentioned briefly but are all interesting enough to give them some more focus.  

Jess Kambitsis writes with brilliant conviction and has created a storyline that completely captivates from very early on. Lucinda Freeburn’s direction allows for the punchy dialogue to maintain the realism, while still allowing for multiple shock revelations and ‘mic drop’ moments in the script to land with impact. The final scene of the empty room basked in spotlight, with the actors off-stage and heard not seen, is a fantastic choice, that makes for an impressively powerful finale. The constant movement of outfit changes and characters coming on and off-stage is never distracting, because the script is so compelling, instead gives the busy backstage buzz more weight. 

Each of the four cast members are absolutely fantastic – their natural chemistry, and easy delivery making the audience feel like they truly are flies on the wall backstage. O’Grady is fantastically likeable, her character’s nurturing, supportive friendship to the others making her wonderfully endearing. Gibbs excellently shows Sophie’s mask slip at various points in the performance, quickly masking her worry or emotion with a plastered smile and energetic positivity. Kambitsis and Dilworth are both measured and engaging, their interactions with both each other and the others filled with playful humour and drama.  

Dawn Train Theatre (the company behind one of my favourite 2023 shows – Breast Baring) have absolutely smashed it once again, with this fantastic script, excellent execution and a fabulous cast.      

Runs until 17^th May 2025