Werewolf Sighted In Port Talbot – Old Red Lion Theatre, Angel

Writer: Andy Sellers
Director: Adrian Greensmith

Reviewer: Christine Stanton

“Utterly Compelling“

5 / 5

Ffion and Billy are off on their first camping trip as a couple – the snacks are packed, the tent is up and the sun is starting to go down. The scene is set for a romantic evening under the stars, though they both know as soon as the Moon comes up, Ffion will be turning into a werewolf.

Billy (Andy Sellers) has never seen Ffion (Lucy Harvard) transform, in fact Ffion has never actually done it in front of other non-werewolves before, so both are nervous to see how the evening plays out. Aside from the lycanthropic undertone of their trip, to an outsider, they just look like any other couple – playing boardgames and chattering about their week at work, both silently counting down the time until the fateful reveal.

Old Red Lion is the home of horror theatre and is an absolute must visit for fans of all things spooky. Werewolf Sighted in Port Talbot is yet another gem that had its original beginnings in their annual Grimfest theatre festival, first debuting in 2025 and thankfully now back for another run! It’s impossible to pinpoint one thing in particular that makes this production so utterly compelling because it is absolutely fantastic in every single area, keeping the audience completely hooked from beginning to end.

Andy Sellers creates the perfect balance of horror vs comedy, supernatural vs normality, blending each of them together with such expertise that every new scene delivers a different energy to the show. The relationship between Ffion and Billy is endearing and believable, their flippant comments and easy, ordinary conversations feel natural and relatable, which immediately helps you to invest into their chemistry. It approaches Ffion’s transformation into being a werewolf with a ‘Shaun of the Dead’-esque approach, very matter of fact, carefully constructed, and with a lot of humorous observations about the unique situation she’s found herself in. Director Adrian Greensmith ensures that the tension is constantly simmering in the background, whether in relation to her impending change, or the small clashes the pair have in their relationship, there is a constant, foreboding sense of eruption, without ever bordering into melodrama. It cleverly delves into themes of control, power dynamics and dependency, slickly weaving them into interactions, expertly juggled alongside the lighter elements of the production.

Sellers and Harvard are an impeccable pair, timing each comedic retort with ease, showcasing a full range of emotions and ensuring their well-layered characters are both likeable and understood. As soon as you think you’ve got the measure of the show, it changes tack, and the introduction of seemingly clueless glamper Kat (Jenny Wall) is yet another moment of brilliance. Her curiosity, combined with the inability to read the room is absolutely hilarious which Wall executes with perfection. As her character starts to unpick some of the secrets in the pairs relationship, all while Ffion is fighting her transformation, it makes for some wonderfully intense scenes.

Small snippets of seemingly meaningless conversation are cleverly referenced in the latter half of the show, as Seller’s excellently twisting narrative delivers shock after shock, right up to the final curtain. A howling success for everyone involved.

Runs until 28th February 2026