What a treat to review SEDOS and their play [BLANK] Amateur productions can often be hit or miss, but [BLANK], with its simple black box stage and the ever-present ensemble, was a triumph of acting, guiding the audience on a moving journey of community and growth.

Written by Alice Birch and composed of 100 individual scenes, director Zoë Thomas-Webb took on the task of selecting the scenes that resonated most with them. In the program, they discuss how the theme of hope stood out as particularly significant.

What I expected to be a strong commentary on the unfair treatment of women in the prison system turned out to be a piece that addressed many issues facing women in today’s society. Themes of unexpected pregnancy, suicide, and systemic failures within support services were tackled, yet each scene offered a glimmer of hope, weaving the play’s strongest theme throughout.

However, I think Thomas-Webb’s choices of scenes and how they were woven together might have been a bit hyperbolic. Since none of the scenes in Birch’s original text are directly connected, the burden of creating cohesion fell on the director’s imagination and intellect. The addition of names—all of which were flowers—helped link some scenes and create small narrative arcs. Yet, certain conceptual choices in the direction didn’t feel bold enough. The recurring use of plants, for example—bare at the start but blooming by the end as a metaphor for hope—was a powerful idea that could have been more daring, though it fell slightly short. Similarly, transitions between scenes and contemporary dance movements were thoughtful, but they weren’t used bravely enough. Instead of becoming a strong stylistic element, these moments either lost impact through repetition or were abandoned altogether.

One of the more touching aspects was the use of potted plants, a concept inspired by a scene in Birch’s book in which members of a community plant flowers while a young girl waters them. This theme of community wasn’t fully apparent until the end, but it was moving once revealed.

The acting was a standout. A diverse range of abilities were showcased on stage, and they complemented each other perfectly. The casting was spot-on, allowing the actors to settle comfortably into their moments and stories. Each performer brought something unique, with individual quirks that made their characters come alive. This allowed the audience to connect with the scenes on a personal level, as if seeing reflections of themselves in the performances. While all the actors were clear in their intent and steady in their delivery, it would be remiss not to mention those who truly shone.

Louise Roberts was exceptional. Her command of the text and presence on stage transported you from your seat at the Bridewell Theatre into the world unfolding around her. When she spoke, you listened—and, more importantly, you believed. Rosie O’Rourke delivered a raw and compelling portrayal of a young mother in *Pregnancy*, her rapid, anxious speech contrasted beautifully by the still, silent warmth of her scene partner Caitlin Holmes, who radiated a calming energy that felt as though she could embrace and comfort everyone on stage. 

Newcomer Olivia Crosby gave a captivating performance, while Imogen Allen brought perfectly timed anxious humor to her scene *Transference*, offering a much-needed lighter moment amidst the heavier content of the previous scenes. *Restaurant*, featuring Oliver Namet and Dan Saunders, was emotionally wrenching, capturing the strain faced by those trying to help in a failing system. Both actors delivered sincere, heart-wrenching performances.

I could go on—each actor deserved their place on that stage. They pulled at your heartstrings and portrayed Birch’s scenes with authenticity, power, and a sincerity that is rarely rivaled.

In the end, [BLANK] was a deeply moving and thought-provoking production that left the audience reflecting on the fragility and resilience of hope in the face of adversity. SEDOS’ ensemble, under Zoë Thomas-Webb’s thoughtful direction, brought Alice Birch’s intricate and challenging scenes to life with nuance and authenticity. While there were moments where bolder choices could have elevated the piece even further, the heart of the production—its exploration of community and growth—was palpable. The cast’s genuine performances and the subtle, yet powerful, thematic threads ensured that this was a play that will linger long after the final bow.

Review by James-Lee Campbell

You can find out more about Sedos and their upcoming shows on their website.

If you like this review of [BLANK] you might also like my review of Just So, Richard III and Sunday in the Park with George – all by Sedos.