★★★

Reviewer - Eliott

*Disclaimer: Gifted tickets in return for an honest review.

Watched over by a hawk of an overbearing boss, the colleagues of a number crunching office will do anything to find a way in getting an out, and for 'Mystic Meg' Galvan (Gabriel Paul) a shot of that weeks lottery numbers is the sure fire backdoor exit,. Thanks to a 'vision', and from this moment in the script, Windfall turns more into a theatrical Final Destination play, than a genuinely truthful and believable play.

In the writing, Scooter Pietsch has developed a play in which does have clever motifs and character development that feels clever, with early nods to the character dynamics, though sly and may seem like off the cuff comments, coming full circle by the time the climax of the piece has truly reached its hilarity, but it's actually the limitations to The Large's spacing, where Windfall is playing at The Southwark Playhouse, plus some odd direction from Mark Bell, that is visually non-believable, with some early physical props like storage boxes and coffee cups becoming a nag, and some body violence which translate as cheap gags.

In the performances, the ensemble casting rockets with enthusiasm and plays off each other nicely; you can feel the years of agonizing trauma and torment that these colleagues have all faced in their working relationships, and of course, like any workplace, relationships of the romantic kind are not out of the question, and Windfall delivers some storming dialogue that rapidly throws the characters at one another with some hilarious revelations. Making her professional stage debut, Audrey Anderson comes across more of a seasoned professional, with her bountiful performance as Hannah drawing us in from the very first moment that she stumbles through with her relationship woes from the night before, with such clarity and diction that doesn’t let go throughout. The dynamics between Glenn, the domineering company boss, and Kate, the feisty office boss with quick quips, is perfectly cast with Jack Bennett and Judith Amsenga in the roles.

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Heads turn though when Jacqueline enters the playing space; described as basically the devil in disguise, the tornado to wreak havoc with the status-quo, and can type speeds of unholy nature in a minute, Joanne Clifton is an enigma in the role to begin with, and plays with this to great success, that even we as an audience are weary of her. When thrown into Galvan’s plan, Gabriel Paul and the ensemble squabble with the idea, and whilst again the dynamics of The Large’s space lets down the heightened atmosphere and notion of whispering in the corner with Clifton in full view, the writing provides some real corkers. Wesley Griffith as Chris completes the cast as the dummy in the group, and one to really throw himself into the action, or whimper in the corner with his sentimental guitar.

In a larger space and giving the script more time to breath, Windfall could be up their as one of the greats in writing, however with this production feeling like the words are racing towards a finish line, and the digital clock on the wall reaching a time so pivotal to the story, Windfall trips at moments to the point it becomes unbelievable and more fantasy, than a nine-to-five office based farce and drama.

Windfall is performing at Southwark Playhouse until 11 March. Ticket information available here.