The Conor Baum Company and Brighton Open Air Theatre present a gripping co-production of Arthur Miller’s 1955 New York take on Greek tragedy, in a packed amphitheatre curling with mist under the darkening sky.

And all feels very now, with ICE on the rampage, the stop the boat campaigns, and the debate around masculinity.

It’s a terrific blend of Baum’s direction, plus fight, movement and intimacy coordination, costume, setting, lighting and a soundscape of steamy jazz over New York waterfront sounds. And the performances are exemplary and perfectly cast.

Sharon Drain as lawyer Alfieri takes that view from a bridge throughout, looking down from above and commenting on what she sees, and what will inexorably happen; dipping into the action then returning to us as a coolly authoritative and observant Chorus.

Jamie Kenna’s Eddie gives a bullish powerhouse performance, a man who has so little and clings on desperately to what he has – respect and his good name. Lurching through the unknown, embarrassment and suspicion, his powerful boxing waterfront man’s all at sea when it comes to his own overwhelming and wrenching emotions. Kenna reveals the narrow borders of what masculinity is allowed to be in Eddie’s world, appalled and bemused by a boy who does not fit the mould.

As Beatrice, Natalie Moon gives a emotionally assured performance of a dedicated and loving careworn wife, at the end of her tether. Powerless, pleading and cracking with the strain of a life of dealing with him, what she can see happening – and what he refuses to acknowledge.

Into this life storm the next generation, all new ideas and demands for independence in a bemusing modern world.

As niece Catherine, Lucy Chamberlain brings mercurial energy and verve, her joie de vivre beating against the narrow constraints of upbringing, culture and patriarchy control.

Joshua Hogan’s Rodolpho is all sweetness, infectious happiness and angelic charm, afire with ambition – and of course, they’re captivated, ardent little looks and sparks from the moment they set eyes on each other.

Patrick McHugh’s Marco gives great contrast, initially as sensible elder brother and dutiful father resigned to a life away from his family, gentle, kind – and he too trapped in the old laws that will inevitably bring his surge into tragedy.

David Samson and Benjamin Darlington throw in sterling support as blokey colleagues, scene shifters – and finally a pair of immigration officers stalking the skyline at sunset, coats flapping, swooping to take their prey.

It’s often laugh out loud funny, especially Marco’s pensive ‘… no …’ and that contrasts with a bout of play fighting that swiftly gets out of hand, escalating to enraged explosions of physical violence, plus an intense scene of passion. These mood shifts are expertly handled, fuelling the action.

This is a theatrical Experience – and we’ve quickly come to expect that from the Conor Baum Company.

A last thought – one of the joys of open air theatre is the outside world insisting on playing, too, as an opportunistic seagull perches on the wall and the scenery to watch, before seeing its chance and snatching away some food from the stage. Full marks for dramatic comprehension, that bird.

Philippa Hammond

A View from the Bridge is at Brighton Open Air Theatre 5–8 August 2026.

Sussex Playwrights Reviews: Ghost Songs to Die For With Madame Isolde

Written and performed by comedian Tristan Wolfe at the little Colly venue, a cosy redlit space above Brighton Theatre Royal's Colonnade bar.

His new drag character is a 1930s medium who has herself joined the ghostly realm and now invites us to dip into her world and learn about rich Sussex ghost legends through songs performed to a backing track.

We encounter Madame Isolde on the final  night of the Brighton Fringe run prior to Edinburgh, as a quiet and eerie presence behind a crystal ball playing atmos music as we come in. 

The show's at its most engaging when Madame emerges from behind the desk and interacts with the audience, with relaxed back and forth chattiness and some singalong participation with a souvenir booklet of song lyrics.

As it prepares for Edinburgh I'd like to see more from Madame's well-crafted medium persona, costume and seance presentation, to know more of her story and delve deeper into her world.

Philippa Hammond

By Sophie Methuen-Turner, Rhys Bloy and Michael Molloy

Sophie Methuen Turner as Sophie Tardy, a version of herself in this engaging storytelling memoir, offers frank insights into the reality of living in a neurodivergent mind while navigating a world not made for it.

Rhys Bloy plays off her central persona, multi-rôling as friend, partner, snide receptionist, director, uptight driving instructor - and cat - in a range of nicely differentiated characterisations.

We're led through confessional moments of the most embarrassing, frustrating and often  comical experiences. 

Perhaps most telling is the paradox that the same mind can harness the drive to create, produce and perform Brighton and Edinburgh shows, but cannot remember where those keys or the dog are.

It's strongest in its passages of frank honesty about the the patience-trying elements for friends, loved ones and strangers alike, as well as for Sophie herself, leading to rejection sensitive meltdown and the darkest, lowest moment of despair.

The duo bring energy and honesty to a well contrasted, pacey piece seasoned with funny moments too, finding the humour and the quiet between the moments of chaos.

Philippa Hammond

Written by Liz Tait
Liz Tait Productions

Time passes. The girls we were become the women we are, sisters and friends, and sometimes not such good friends. All those unreliable hopes and memories.

But can we ever really recapture those days, and is it wise to pile so much expectation onto a reunion?

Well, there’s a lot riding on a fun dance class designed to recapture those happy 90s times, when girl power ruled.

We’re in a shabby dance studio and a soft opening works well as Marion bustles about, building a sense of chirpy anticipation that something fun’s about to kick off. Kate Peltzer-Dunn’s kindly benevolence just wanting everything to be as it was is a charming, quirky and childlike presence.

One by one, the rest of the foursome arrive, a little hesitant, maybe reluctant, resolute – each motivation subtly revealed.

Each has gone through her own trials, dealing with whatever life chucked their way through relationships, bereavement, motherhood and menopause. Their stories spin out through conversations, revelations and humour, as we focus on each player in turn.

As hyped up dance teacher Pippa, dedicated to keeping things just so, Helen Rogers delivers a tightly wound self discipline teetering on the edge of unravelling, as what lies beneath starts to tell…

Sally Best’s Sarah is wrong footed and wrestling with her own life and that ‘what’s happening to me??’ deep dive.

Sophie Dearlove’s cool and confident Kim gradually reveals the truth beneath the nonchalant exterior.

Tait’s detailed, compassionately observed writing shines in this warm, wise four-hander, performed with energy and verve.

The title speaks of women navigating the complexities of friendships, sisterhood, motherhood, daughterhood and relationships, asking who are we – now?

The crystal clear dialogue, larger than life characters and physical exuberance are well suited to the generous space here in Shoreham.

While perhaps the blend of interscene blackouts and musical stings could be further refined as the run continues, this is a tight and snappily directed slice of fun with so much going on under the makeup and the lycra, and some joyful dance numbers whisking it all along.

Loved the clever build of costume throughout the show until the finale we want – and the Spice Girls are in the room. In the end, whatever life throws on the way, sometimes you can just let it all go, and dance.

The run begins with performances at Shoreham Community Centre then transfers to The Actors Brighton 26/27 September, then 4th October at the Victoria Institute, Arundel.

The Conor Baum Company at Brighton Open Air Theatre, August 2025

This Brighton Fringe Outstanding Theatre Award winning company is back, with the third in their trio of significant plays spanning thousands of years and sharing a common theme: families bound by buried trauma, domineering mothers, monstrous unseen men and blazing enraged daughters who will not be quiet.

It seems like no time at all since the Conor Baum Company was born and we’ve swiftly come to expect nothing but excellence from this accomplished team. And this show delivers all-round excellence.

Last summer, something happened. Sebastian is dead and grieving mother Violet clings to her version of him as her health fails, while his avenging angel cousin Catherine is coming – with the truth. Intense desperation permeates the play – desperation for a hearing, for saving face and preserving an image, and for money.

The sun setting over the green, exotic bird song and lush foliage set the scene in this tree-surrounded space, with Brighton’s crows and gulls picking up their cues overhead.

As Violet, Sharon Drain delivers a mesmerising performance as the fading matriarch, single minded, wealthy and proud, propped up by obsessive love. Her delivery of the exhausted and ultimately expendable sea turtle mother metaphor is queasily fascinating.

As Catherine, Isabella McCarthy Somerville slinks in, a fragile-seeming piece of steel, with mercurial flashes of sullen loathing, burning intent, and a final unstoppable spirit.

The play is bookended by two epic speeches by these two women whose very different stories of the late Sebastian are drawn out by the composed, still presence of Oliver Clayton’s youthful and sincere Doctor Cukrowicz – whose sweetness belies his dreadful intent.

The play’s second mother-son duo are a great complication. Deborah Kearne’s a grimly funny Mrs Holly, all pleasantries and social niceties restraining Jordan Southwell’s bullish tightly-wound George, as they circle Catherine, revealing themselves as equally intent on money – and silence.

Strong supporting work from Peta Taylor’s Miss Foxhill, Violet’s cosy, dependable rock, a conspiratorial confidante always ready, always there, and Jules Craig’s kindly, watchful, dutiful Sister Felicity, battered and abused by her charge.

The costume and set design are spot on,
those genteel indicators of hats, little gloves and handbags, tennis racquet and polite tailoring in a garden of greenery and Venus fly traps all creating the mask and shoring up the lies covering up the truth.

Night falls during the production, as the tale of searing heat and light unfolds, the stage lighting bringing up the white bone burning in the sky. Nothing will escape this light, finally.

If you don’t know the story, the sense of What HAPPENED? What did he DO? is so powerful, and the final moments so satisfying.

Baum’s direction delivers a pacey and enthralling psychological horror story and we need to know – what’s next from this key player in drama in the city?

Philippa Hammond
Sussex Playwrights Reviews

The latest show from the Foundry Group
co-written by Brian Mitchell (Ministry of Biscuits)
and Joseph Nixon (The Shark is Broken).

Featuring Murray Simon and Brian Mitchell

The setting is the ballroom under the Church of the Annunciation. I always love a new-to-me venue discovery, and this early 19th century church basement is full of character – crumbling paint, the ghost of a fireplace and some chandelier bravado, plus tea and biscuits from a bunting-bedecked stall – it all feels extraordinarily suitable for this particular show.

It’s a simple and very portable concept; two chaps with suitcases and interchangeable hats, a few props, a backdrop and a big sound track.

1066 And All That meets ‘Allo ‘Allo with a touch of Morecambe and Wise, the writing’s witty and warm with real history cred underpinning the fun.

Simon zips through multiple voices and a wicked King Charles impression, with Mitchell the funny, exasperated, avuncular foil. They spark off each other like all the best double acts who’ve known each other and worked together for years.

With history the theme, a Victorian music hall audience would feel right at home here, with this organised chaos before-the-curtain traditional approach to performance

Full of bouncy verve, charming and funny with a spot of audience participation you can’t resist, it’s a fast paced ‘cut to / meanwhile …’ bonkers bulldoze through 1,000 years of British history.

Now imagining a schools’ performance version…

Philippa Hammond
Sussex Playwrights Reviews

(Pic from the Foundry Group’s Event)