Writer: Morgan Lloyd Malcolm
Director: James Haddrell
Reviewer: Christine Stanton
“Buzzing with Tension“
4 / 5
It’s been a long time since former school friends Carla and Heather have seen each other – so long, in fact, that Carla’s had four kids, with another on the way, and Heather has powered her way up the career ladder and into a fancy, flashy house.
Carla (Serin Ibrahim) wasn’t expecting their seemingly randomly suggested reunion, but after being updated on Heather’s (Cassandra Hercules) fertility issues, she’s certain that the sudden interest in meeting is with the hope that Carla can help out, and act as a surrogate. But what Heather truly wants is much darker, and her generous offer of £30,000 isn’t for a baby at all, but a payment for Carla to kill her husband.
Morgan Lloyd Malcolm’s script is packed with twists, shock revelations and buzzing with tension throughout. Although the storyline is purposefully over-dramatic, after suspending your disbelief, it makes for a great psychological thriller. Both Hercules and Ibrahim ensure their characters balance each other out well, which helps to contribute to the varying power shifts that occur throughout. Hercules showcases Heathers’ inner unhinged psychotics with her outer polished composure fantastically, when the mask slips she’s sinister and intense, before quickly returning to her posh and proper demeanour. Ibrahim’s natural stage presence allows her to portray working class Carla with attitude and confidence, while still garnering sympathy when highlighting moments from her troubled childhood.
Running at 1 hour 50 minutes including interval, it’s unevenly paced – with a 30 minute first act that introduces the premise, before a 20 minute break interrupts the momentum before the 60 minute second act. It would be more successful in keeping the suspense running straight through with no break, as the interval comes too quickly and dissipates some of the well built intensity from the pairs first meeting.
Another curious directorial choice is the constant implementation of repeated scenes – which seemingly add nothing to the production. The same lines in various conversations are (annoyingly) spoken again, and again, and again, often with little change other than the characters facing a different direction. At first, the repetition suggests alternative perspectives or a ‘Sliding Doors’-style structure, but neither interpretation fully materialises, leaving the artistic intention a mystery!
With it’s multiple twists and shocking conclusion, it’s hard not to be completely absorbed in the story as the second act ramps up the drama. An enjoyable tale of calculated, callous, revenge.
Runs until 30th May 2026
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