Rika’s Rooms by Gail Louw at Tabard Theatre Review

Written by Bronagh for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review. All views are our own

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Rika’s Room is one of those shows that reminds me just why I love theatre so much. I had the pleasure of reviewing it in 2024 at The Playground Theatre, and was left absolutely stunned. Two years on and in a slightly smaller setting, this is still just as remarkable as the first time I saw it.

Rika’s Room spans Rika’s life from being 14 years old in Germany to 76 years old in Stanmore, living in Palestine and South Africa in between. The narrative isn’t linear, with us jumping between decades and locations. This keeps the audience on their toes and picking up on little clues as we go, allowing us to link together the events as they unfold before us. Emma Wilkinson Wright is utterly convincing in every iteration of Rika, from the bewilderment in her later years to the terror of being separated from her parents as a young teenager. Directed by Anthony Shrubsall, Wilkinson Wright morphs into no fewer than fifteen characters throughout Rika’s Rooms, without ever missing a beat with the slick transitions. 

There are a lot of interesting themes throughout, with some explored in greater detail than others. Nazism is the obvious theme; from the get-go we know Rika is a Jewish girl fleeing Nazi Germany. We are transported to apartheid South Africa, and watch on as Rika is mortified at the ‘girl’ not being included before becoming tyrannical herself. A key moment in the plot is where Rika strikes up a friendship with ‘The Colonel’, becoming a ‘terrorist’ and rebelling against British occupation. This is one area that could have been explored in greater depth, answering some lingering questions and tying up the plot more neatly.

Rika’s Rooms is based on the life of Gail Louw’s mother, who fled the Nazis for Tel Aviv. A distressing and turbulent story is executed beautifully by Wilkinson Wright and shows off Louw’s brilliant writing talent. Split into two acts, the show does flow nicely – no mean feat when there’s so much content to pack in. I do wonder if there could be even more of an impact if the interval came at a different moment, with a bit more of a cliffhanger.

Something that I really enjoyed throughout Rika’s Rooms was the lighting, as designed by Simon Beyer. The Tabard Theatre was washed in warm glows whilst we were transported to Palestine and later the Kibbutz, and back to harsh lighting when we were back to the current day in the care homes. Lighting in shows can sometimes be overlooked, which is a scandal given the subtle yet powerful effect it can have.

Rika’s Room was as extraordinary on the second viewing as it was when I saw it back in 2024. Emma Wilkinson Wright is captivating to watch, as she brings Rika to life. Gail Louw’s deeply personal writing ensure that the emotional impact is not lost on us. This is one production that lingers on your mind for a long time after the curtains go down.

Rika’s Rooms played at Tabard Theatre from 1-25 July.

★ ★ ★ ★ ★