Wreckage is an exploration of grief and at its heart contains a beautiful queer love story.

Writer Tom Ratcliffe stars as Sam, who’s in a relationship with Noel (Michael Walters), a man slightly older than him. Wreckage begins with a message on a screen, that reads ’20 minutes before’. What then plays out in front of us is a snapshot into the relationship between the two men. Sam has a minor meltdown to manipulate Noel into making a journey for him, which Noel willing agrees to. It then becomes clear that a car crash occurs, in which Noel does not survive. This scene plays out multiple times for us, symbolising Sam rerunning the scenario in his head and hoping for a different outcome.

The plot of Wreckage is played out in non-chronological order, we’re shown the beginning of their relationship all the way through to years after Noel’s death, when Sam has met Christian, his future husband. The play’s pacing is very good and means you are on the edge of your seat throughout; scenes are short and snappy and hook you until the very end.

For the most part the storyline is easy to follow. However, I did feel that when Walters took on the role of Christian there were not enough differences between this character and Noel to distinguish the two. And due to Noel still appearing, as Sam could see and hear him, it made it difficult to know which character he was portraying at times. Subtle changes in accent, voice or costume would help the audience to differentiate between the two.

The lighting design by Rachel Sampley and sound design by Mwen worked incredibly well together and are effective in creating a tense atmosphere when the play called for it.

Ratcliffe and Walters both give stunning performances. The chemistry between Walters and Ratcliffe is electric, allowing what feels like a genuine relationship to play out in front of you. Ratcliffe in particular does an outstanding job at portraying the emotional turmoil of losing a loved one. The emotion within the performance was palpable and ensured no member of the audience would be left with a dry eye.

Wreckage is an exquisite play that highlights the struggles of having to continue with your life when someone you hold dear passes away. It’s filled with raw emotion and one of the most honest explorations of grief I’ve witnessed. It’s a beautiful story that will leave you an emotional wreck (sorry for that pun).

Rating: 4 out of 5.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

2 Star Review 3 Star Review 4 Star Review 5 Star Review 2022 2023 Adaptation Almeida Cabaret Camden Fringe Cast Announcement Christmas Comedy Dance Drag Edinburgh Fringe Edinburgh Fringe Interviews Fringe Immersive Interviews Jukebox Musical LGBTQIA+ Lyric Hammersmith Manchester Musical New Musical News New Wimbledon Theatre North West Off West End Park Theatre Play Review Revival Richmond Theatre Round Up Royal Court Theatre Shakespeare Show Announcement Show Recommendations Soho Theatre Southwark Playhouse Touring Production VAULT Festival West End

    The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
    Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
    The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
    Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
    Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE