DDF 2026: Assembly Rooms programme review
‘an exceptional exhibition of student writing with its cohesive collection of piano ballads which perfectly paint a portrait of grief’
To Capture The Wildlife (written by Bethan Crotty)
Upon entering the Assembly Rooms Theatre, the only prior knowledge I had regarding the show was that it was a student-written musical. Bethan Crotty’s script countered any presuppositions a theatregoer may have around student musicals. To Capture The Wildlife explores the characters of Morgan and a Girl (whose name is revealed later in the show) and their regular meets in a graveyard where Morgan’s mother has been recently buried. What follows is a beautifully haunting exploration of the many faces of grief and the many faces humanity displays when grappling with it. As Director and Writer, Crotty doesn’t shy away from navigating these hardships nor from diving into the pitfalls of grief’s bottomless pit. The poetic language that she uses not only in the songs but the dialogue is to be greatly applauded; whilst there is not a lot of variation in the style of songwriting, it is no small feat to write and create a student musical.
The plays begins with solely Pianist Jed Godfrey on stage and the ballad played immediately sets the tone for the show. Godfrey should be commended for the naturalness of his playing - it truly aids the atmosphere across the performance. We are introduced first to Moritz Afridi’s Morgan. Afridi’s performance as the grief-stricken teenager is truly heart-wrenching - there is a tenderness and a brokeness is every line and his physicality, constantly shying away from touch or connection, especially at the beginning, shows a great emotional understanding of the internal battles Morgan is experiencing. However, Afridi does exhibit the emotional shifts within Morgan with a remarkable level of expertise. I particularly enjoyed the number Afridi leads highlighting how his relationship with the girl makes him feel like ‘starlight’ and the lightness in his tone makes it impossible for the audience to not smile along with him. I feel it also vital to commend Afridi’s vocal control, particularly in the higher ranges, as there are no points where the storytelling became lost in their performance. Whilst there were moments where the diction slipped slightly and certain lines were lost, their characterisation never dropped once: vulnerable and open, you could truly hear a pin drop in the audience, who were undeniably immersed.
Tanuja Hanmantgad’s performance as the Girl is nothing short of mesmerising. Whilst her character may be shrouded in mystery, she truly lays her emotions bare for the audience to unpick. Throughout the show we see this character struggling with something, something contained within her, and as the show proceeds Hanmantgad’s physicality deteriorates and expertly conveys her characters’ journey with her body as well as her emotions. Her performance is entrancing - from the beginning to the end, her voice resonates through the venue, the gut-wrenching tone alluding to a pain we cannot see. A truly angelic performance. Where Hanmantgad’s characterisation really shines is in her interactions with Morgan. There is a such comfort and genuine sincerity, particularly in her tonal delivery, that makes even the audience member at the back of the theatre feel safe and cared for.
There is an evident close-knit bond between the two actors and they do truly appear at home in these characters. There is always a naturalness in their chemistry together on stage which makes the reveal later in the show significantly more heartbreaking to watch. The moment where the actors’ voices blend together as one is an impeccable example of musical storytelling and, partnered with Crotty’s extended lyrical metaphors, concludes an awe-inspiring study not only of grief but of the human condition and how, as much as we hate to realise, life is sometimes outside the bounds of our control.
The visuals of the production were astounding. Under the management of the production team of Lucy Smith and Oli Fitzgerald, the many tonal shifts are represented with lighting varying from blues to purples to pinks as the characters internal emotional battles feel externally conveyed to us through these colourings. A particular highlight for me was a light flash of the wash every time the girl took a photo which really honed in on the idea of permanence which permeated the play. Equally, amongst the final moments of the play, there was a moment where the dimming of a single spotlight really highlighted how lighting can really be a character of its own within theatre, representing a definite harmony between director and production team.
Overall, everyone involved in this performance should feel beyond proud. To Capture The Wildlife is an exceptional exhibition of student writing with its cohesive collection of piano ballads which perfectly paint a portrait of grief.
‘truly a comedic masterclass’
The Dangers of Being Earnest (written by Milly Lovering)
Milly Lovering’s The Dangers of Being Earnest is truly a comedic masterclass. Writing a naturally endearing comedy is a very complex matter, yet Lovering’s script shines with a refreshing lightness and a hilarious subject relatable to many members of the audience: the struggles of student theatre. Filled to the brim with wit and Wilde, Lovering’s writing is energetic and eager to jump from joke to joke, which is an excellent way to maintain the pace if sometimes sacrificing substance for style; however, that is something Wilde himself would have encouraged nonetheless. The play follows Ainsley Theatre Company and their rehearsals and ultimate performance of The Importance of Being Earnest. The play centres around the hilarious conflict between the two directors Franke and Karly (Ellie Kinch and Mireya Morenas respectively) and how their feud affects the final product. The writing’s excellence was only matched by the directing team, headed by Lovering and Zara Khan and assisted by Thi Chakraborty, who have created a metatheatrical masterpiece.
The performances within this show aree nothing short of remarkable, with each actor stepping into the shoes of their character in the company as well as their respective roles within their performance of Wilde’s magnum opus. It is a difficult job to actively shift between multiple roles but these actors do this with impressive ease. Kinch and Morenas excel in their directorial roles, clearly grappling with professionalism, teamwork and creative vision. Their moments of breaking the fourth wall and directly addressing (or rather, apologising to) the audience are funny additions that really exhibit the freedom of contemporary playwriting. The many quips and bitter banter between them is a highlight of the show and their chemistry pervades the play. Their humourous banter comes to a head during the final performance where Sam, played by Ruby Newall, has to physically separate them in a moment of hilarious physical comedy.
The trio that make up the rest of the troupe are Eloise Robinson’s Lucy, Icarus Gilbert’s Jack and Newall’s Sam; they feel so naturally interwoven, their chemistry oozing on stage and their characterisation clear and captivating. Newall’s Sam serves as the perfect grounding force in a chaotic comedy and her performance bleeds with dry and witty humour. Gilbert’s performance is cheesy in all the best ways, particularly in the moment where Jack decides to “go method” - his philosophical rambles had giggles erupting from all parts of the crowd. Finally, Robinson’s Lucy was light-hearted and effortlessly funny - a truly warm presence on stage. Whilst this group succeed without a doubt on stage at once, I found myself enjoying the one-on-one scenes between actors even more particularly the scenes between Jack and Lucy. The innocent romance between the two is a wholesome break amongst the chaos of the rest of the show and really highlights the range of these actors who left audience switching constantly between awes and guffaws.
Where the play really excels is once the performance of Wilde’s play begins - the play adopts a very The Play That Goes Wrong style, combining an eclectic variety of comedic styles and the same slapstick and satire that Wilde enjoyed as it slowly derives into chaotic insanity. A particular favorite moment of mine is when the two ‘Jacks’ on stage realise they have been given the same stage directions - Newall and Gilbert’s physical comedy in this moment truly solidifies them as comedic forces to be reckoned with. Kinch’s performance as Frankie playing Jack whilst dressed as Gwendolyn is equally a stand-out moment and leaves the audience in fits of giggles. The series of mishaps are each impeccably amusing, including a fall on stage and a certain infamous handbag being swapped for an alternative which had gasps as well as chuckles rippling across the theatre.
This play handles a lot of stylistic choices cleanly and proudly, most evidently flipping the famously tragic trope of a play-within-a-play into a comedic pond of hilarity - and it certainly makes a splash. Whilst the play refers to the ‘Earnestness being left behind’, I believe these performances were all too earnest and refreshing in their own regard. All involved should be proud to have created a warm-hearted reflection of student theatre with all its highs and lows.
By Lauren Williams.