Brief Encounter – Tower Theatre, Stoke Newington

Writer: Noël Coward in a version by Emma Rice
Director: Rob Ellis

Reviewer: Christine Stanton

“Collaborative“

3.5 / 5

Emma Rice’s stage version of Brief Encounter was adapted from Noël Coward’s original screenplay to capture the timeless tale of two forbidden lovers.

Set in a tearoom at a train station, Alec (Dom Ward) and Laura (Victoria Flint) spark up an unexpected connection when he helps to retrieve some grit from her eye, caused by the passing train. Pleasantries exchanged, they briefly discuss their lives and families, Laura’s husband and Alec’s work as a doctor in a local GP practice. They both agree that they do not want the conversation to end, so arrange to meet again the following week, which quickly turns from platonic friendship to an illicit affair that fully consumes them and sends them spiralling into a whirlwind of love, deception and guilt as they fight to stay together against the odds.

Rice’s adaptation is enjoyable and endearing, the melodramatic old-timey style present throughout. Even aside from Alec & Laura, or even Laura and husband Fred (James Taverner) there is a romantic note within each of the characters relationships – tearoom owner Myrtle (Deborah Ley) and station manager Albert (Matthew Vickers) are constantly giggling and flirting with eachother, waitress Beryl (Imogen Front) and Stanley (Tom Lafferty) coy and cute as they steal glances and shy moments together. The interactions are never sickly or forced, the chemistry is mostly very believable and the vast array of characters – including very humorous appearances from Fiyin Ifebogun (Dolly) wittering away about her shopping trip, help to really embed the show as an extremely collaborative production that gives everyone their moment to shine.

The band (made up of Jonathan Norris: Keyboard, Colin Guthrie: Keyboard/Ukulele/Accordion/Tenor Banjo, Sean McMullan: Trumpet, Phillip Ley: Double Bass, Peta Barker: Percussion), are at the heart of the show, transporting audiences back to wartime England with a variety of songs woven in beautifully to the production. Without the live music, the storyline itself could at points fall a little flat, but the energising score truly helps to breathe life and revive the engagement whenever it dips slightly.

A lot of work has clearly gone into the production, from Ivy Thorne’s periodically accurate costumes, to David Taylor’s adaptable set design, it’s enjoyable to watch a show that is clearly a joint effort from everyone involved, paying homage to a classic in a very endearing manner.

Runs until 25th April 2026