It is hard to discuss this play without giving away the brilliant plot twist and reveal at the end of it. With hints of uncertainty throughout, the play definitely makes you feel like something may be coming but definitely does not prepare you for what actually unfolds. I am happy to say this twist caught me completely off guard and as the story draws you in allowing your guard to drop before being smacked with an unforgettable and mind-aching twist. The play within a play within a play is something you can only insist your friends to watch rather than tackle the feat of trying to explain it. While at no point does the play tell you anything other than the truth, you still are in a state of unknowing throughout, which you may love or hate, I for one – loved.

Opening at a false wedding reception the play begins with armed guards inspecting the auditorium and us the audience as we take our seats. An order of ceremony upon each seat listing the events of the ceremony and a pledge on the back to recite – that you actually do stand and recite – leading us into a dystopian style, censored reality. Once said inspection was complete and the guards had left, all
pretence was dropped and the real play began. This instantly draws you in as what you are about to receive is clearly illegal, underground or approved of by the dystopian government.

Sam Holcroft (‘Rules for Living’) has truly written a marvel. The character arcs and narratives are impeccably detailed and thought out, yet impossible to relay without forcing someone to just sit and watch it. The sheer abundance of detail that is involved in the contrasting character timelines and truths must have been a mountain to tackle when writing but has clearly paid off.

After a successful run at the Almeida, Jeremy Herrin’s ‘A Mirror’ took to the West End with a bang, leaving audience members with enough to think about and discuss until Christmas. After successes such as ‘Ulster American’ and ‘Best of Enemies’, Herrin has continued his streak with this wonderfully directed play, for an immersive experience there is just the right amount of audience interaction where actors are dispersed among us and the space is very well used to make us feel as if we are a part of something as the guards enter through the auditorium. The encouragement or should I say demand for us all to stand and recite the pledge of allegiance to the nation when the guards return to disguise

the illegal activity is nothing short of genius and a nice touch of fun to enhance the immersion. The play doesn’t deny that it is a play, it just confuses you as to which one you are watching.

Max Jones, Azusa Ono and Nick Powell have curated a spectacular show in their control of set, lighting and sound respectively. Jones’ use of a multipurpose set design is remarkable in reminding you the characters are putting on a play with thing they have used to disguise it as a wedding. The overall experience feels extremely truthful and not overdone as it very much could have if done differently. Well, as truthful as it can be given “This play is a lie”.

The cast are phenomenal. Jonny Lee Miller demonstrates a masterclass in character much like he did at the National with ‘Frankenstein’. Tanya Reynolds provides a beautiful balance of enthusiasm and innocence her character requires and compliments well with Samuel Adewunmi’s charm. Geoffrey Streatfield was a brilliant source of comedy and was a place for your eyes to turn if you needed a break from the tension and just to relax. All cast ingeniously by Jessica Ronane.

Overall I can’t decide which one is more captivating, the play or the play within that or the play within that. All contribute to a brilliant, confusing and captivating experience.

⭐️⭐️⭐️⭐️