Drifting at Southwark Playhouse Review
Written by Amelia for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Written and directed by Andrew Muir in partnership with the Ardent8 Ensemble, Drifting arrives at Southwark Playhouse Borough for a limited engagement. It traces the journey of a 26-year-old navigating expectations, family ties, and the urge to escape. With its backdrop of a fog-laden, anonymous seaside town, the piece endeavours to capture the sense of a generation lingering between stillness and drive. Drifting is part of the Ardent8 programme whose initiative is to support emerging actors, especially from working-class backgrounds. There’s a post-show Q&A on Thursday 20 November, with members of the cast and actor Johnny Harris. This will specifically address “barriers working class performers face trying to break into the theatre industry” which is an ever-emerging conversation that needs to be had.
As for the play itself, while the central themes were clear, I sometimes struggled to see them fully realised onstage. We spend the entire 90 minutes with the protagonist (‘Young Man’), following what’s described as yet another of his routine attempts to leave the town he feels trapped in. Along the way, he encounters various figures — his parents, his girlfriend, colleagues, and a mysterious ‘Stranger’ whose presence felt more confusing than purposeful.
The dialogue repeatedly suggests that he talks about leaving almost every day but never acts on it, leading those around him to dismiss his words as empty threats. This does create a pattern, but the conversations began to feel repetitive, especially as he fixated on “the City” without knowing anything concrete about it. At times, it felt less like the play was building through distinct beats or shifts and more like it was circling the same idea. Everyone urges him to go, he finds a reason not to, and the cycle continues — until, finally, he makes a decision of his own.
The cast performed well overall, and I particularly enjoyed the supermarket scene, where the humour finally came through more clearly. Trae Walsh anchored the piece effectively and made for a compelling protagonist. Some of his relationships, however, felt a little forced — though I’m unsure whether that stemmed from the writing or the characterisation. He was easy to follow and root for, and the play sets up his goal from the outset.
When he finally makes his decision, it’s an exciting moment, but it passes surprisingly quickly. This brevity crops up elsewhere too, such as the scene where he believes his girlfriend has won the lottery, only to learn moments later that she’s won just £10. The build-up lasts barely twenty seconds, yet the character reacts as if he’s been dramatically misled, and the impact didn’t quite land for me. The entire cast deserves credit, and the play tackles important themes, but I found myself struggling to fully connect with it at times.
Bethan Wall’s set and costume design made strong use of the Borough theatre’s intimate space, creating an environment that felt both imaginative and contained. I especially liked the Stranger’s costume, which seemed to echo the sea and sand. Rachel E. Cleary’s lighting also added texture to the production, helping to elevate some of the play’s more dynamic moments. I think the piece benefits from a smaller environment, giving the characters a better chance at connecting with the audience.
For all its interesting ideas and important themes, I couldn’t quite get on board with this production. I’d be keen to see where the piece goes next, and naturally, responses will vary from person to person as theatre is, as always, subjective. I’m particularly curious how others who aren’t my age receive it, as perhaps my closeness to the generation being explored played a part in why it didn’t land as strongly for me.
Drifting runs at Southwark Playhouse Borough until November 22nd.
★ ★
