‘Believers’ Durham Fringe review
‘some of the most impressive student design pieces I have ever seen […] it was truly delightful to feel part of the magic for one night.’
Believers, written by Carrie Cheung, is a stand-out, emotionally compelling production seen at this year’s Durham Fringe Festival. Performed in the intimate Studio at the Gala Theatre, the space itself perfectly amplifies the tenderness of the heartfelt story, allowing both physical and metaphorical closeness between the audience and its characters. The close proximity allows the audience to feel completely drawn into Rosamund Saint-Frances’ island world, surrounded by quiet nostalgia and flickers of memory.
The thought-provoking production follows the memory and captivating journey of cryptozoologist Rosamund (Grace Heron), who, in her final wish, instructs her loved ones to destroy all of her research six months after her death. Directors Felicity Rickard and Charlotte Walton must be praised for aiding the success of the polished script, allowing the audience to quickly come to grips with what initially appear to be mystical and intriguing characters. The production’s careful design choices and the performers’ sincerity worked hand-in-hand, creating an atmosphere where the audience can truly lean in and listen.
Quickly, the audience is transported into the Believers world: the set is not only mesmerising, but the beautiful lighting transitions add a subtle yet powerful backdrop to the overall creative vision of the show. From the very start, it is clear there is a careful creative vision tying everything together. A special mention must go to the lighting and sound design (by Hamish Campbell and Carrie Cheung), which both catch the hazy, almost storybook-like feel of the island beautifully. Shifts in colour and subtle sound cues allow each scene to settle gently, making the space feel alive without ever overwhelming the performances.
One of the most delightful aspects of the production was the use of life-size puppets. Creatively designed and operated by the cast with humour and care, they did far more than decorate the stage: they pushed the story forward in unexpected and poignant ways. Watching these puppets interact with the characters added texture and whimsy, whilst still feeling grounded in the show’s emotional core. Not enough credit and praise can be given to the entire design and execution of the puppets, which were some of the most impressive student design pieces I have ever seen.
At the heart of the production was Grace Heron’s remarkable performance as Rosamund. She had an openness and warmth that felt deeply relatable, making it easy to understand why those around Rosamund might love and struggle with her in equal measure. Opposite Rosamund, Antoinette (Nell Hickson) returns to the island to grapple with her mother’s complicated legacy. Hickson delivers a performance full of tenderness and quiet strength, perfectly capturing a woman caught between love, loss, and lingering doubt. Alongside her, Maariya Khalid’s Rene brought an endearing charm that balanced beautifully against Antoinette’s guarded resolve. Her moments of humour were particularly well-executed and allowed the audience to quickly appreciate the emerging relationship between Rene and Antoinette. The shared moments between Hickson and Khalid glowed with a kind of hesitant affection that felt real and moving.
Iris Varla is absolutely captivating as the enigmatic Darling. Their performance brings a quiet, almost ethereal grace to Rosamund’s partner, and there’s something deeply compelling in the way they move. Even when silent, Varla holds the space with an intensity that feels both gentle and haunting, adding depth to every shared glance and pause. Equally impressive are Elizabeth Sykes and Beau Singleton as Cole and Jesse, respectively. What makes them stand out isn’t just their wonderfully playful energy, but the genuine sense of history and shared trust they bring to every scene. They slip so easily between past and present that the audience feels those memories come alive rather than simply being retold. The scenes built around field notes are especially poignant, layering moments of lightness with quiet nostalgia. It’s a joy to watch Sykes and Singleton navigate this balance so seamlessly, grounding their characters in something both funny and quietly moving. Together, this ensemble enriches Believers beyond its central story, filling it with small, human moments that make the world on stage feel lived-in, warm, and entirely believable.
Overall, Believers succeeds at infusing joy and imagination into Durham Fringe Festival, and it was truly delightful to feel part of the magic for one night.
By Niamh Williams.
Believers is showing at the Studio, Gala Theatre on Sunday 27th July at 18:30.