Ordinary Decent Criminal at Summerhall Review
Written by Liam A for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Edwards' Ordinary Decent Criminal continues the playwright's unflinching examination of crime and punishment, following his acclaimed 'The Political History of Smack and Crack' and 'England & Son'. Where that earlier work traced the heroin epidemic to Thatcherite policies, this searing one-man show – performed with masterful precision by Mark Thomas – exposes how Britain's colonial legacy continues to shape its criminal justice system. The message is clear: today's prisons are the logical endpoint of historical violence repackaged as policy.
Edwards doesn't bother with easy redemption arcs or moral grandstanding. Instead, this darkly comic prison drama delivers something far more interesting – a clear-eyed look at systemic failure, anchored by Mark Thomas' dry, unsentimental performance as Frankie, a recovering addict doing time for drug dealing. His portrayal balances weary humor with simmering rage, creating a protagonist who's neither hero nor victim, but a sharp-eyed observer of institutional incarceration.
Directed by Charlotte Bennett, the play finds both humor and humanity in the unlikeliest of places—behind bars—where Frankie’s typewriter and activist spirit become tools for survival and unexpected connection.
Edwards, who previously exposed the link between government policy and addiction in 'The Political History of Smack & Crack', here turns his razor-sharp gaze to the broader systems that manufacture criminals. The play suggests that Britain is haunted by its own history—colonial violence, economic exploitation, and institutional neglect—and that prisons are merely the endpoint of a pipeline built by those in power. Thomas embodies Frankie with equal parts wit and vulnerability, making him a flawed but compelling guide through this underworld. His fellow inmates, far from caricatures, reflect the human cost of policies that criminalize poverty rather than address its root causes.
Bennett’s direction keeps the pacing tight, though the script occasionally strains under the weight of its ambitions. Some themes—like the direct line between historical truma and modern-day inequality—could benefit from deeper exploration. Still, Edwards’ writing crackles with urgency, and Thomas’ performance is nothing short of electric.
What makes the production work is its refusal to soften edges. The ending offers no easy answers, just Frankie typing away at another hopeless appeal. It's this lack of pretension that gives the political points their weight.
★ ★ ★ ★ (4 stars) - A powerful reminder that the revolution isn’t dead; it’s locked up, waiting for someone to listen.
Ordinary Decent Criminal playing at TechCube 0 at Summerhall at 11.50 (70 mins) until August 25th with a national tour to follow concluding on 3rd December at York Theatre Royal.
