{"id":5516,"date":"2026-03-11T23:55:22","date_gmt":"2026-03-11T23:55:22","guid":{"rendered":"https:\/\/madf.im\/?p=5516"},"modified":"2026-03-12T00:28:14","modified_gmt":"2026-03-12T00:28:14","slug":"day-1-madf-festival-of-one-act-plays","status":"publish","type":"post","link":"https:\/\/madf.im\/?p=5516","title":{"rendered":"Day 1 MADF Festival of One Act Plays"},"content":{"rendered":"\n

Review: Janet and John<\/em><\/strong><\/p>\n\n\n\n

By Michael Pearcy<\/p>\n\n\n\n

Performed by: The Service Players<\/p>\n\n\n\n

Review by: Anthony Lawler<\/p>\n\n\n\n

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The opening play of the evening, Janet and John<\/em>, invites the audience into the private world of a long-married couple as they reflect on the moments that have shaped their lives together. Through a series of monologues, memories, and revelations, the play explores love, regret, difficult choices, and the quiet ways relationships endure over time.<\/p>\n\n\n\n

Set<\/h3>\n\n\n\n

The staging was simple but effective. A minimal selection of props was used to create the couple\u2019s living room, immediately grounding the audience in the domestic setting of the story. This understated approach allowed the focus to remain firmly on the characters and their shared history rather than on elaborate scenery.<\/p>\n\n\n\n

Lighting and Sound<\/h3>\n\n\n\n

Lighting was used particularly well throughout the piece. Spotlights isolated each character as they transitioned between memories and present-day reflections, helping guide the audience smoothly through the shifting timeline. These moments added clarity to the narrative and created a strong sense of intimacy during the characters\u2019 personal monologues.<\/p>\n\n\n\n

Performances<\/h3>\n\n\n\n

The performances were central to the success of the play.<\/p>\n\n\n\n

Janet<\/strong> opened the piece with a strong and engaging monologue, addressing the audience directly as she puzzled over John\u2019s unusual decision to take her out for dinner on a Friday night. Her conversational style immediately drew the audience in and established a tone that continued throughout the performance.<\/p>\n\n\n\n

John\u2019s<\/strong> responding monologue offered early hints that something significant lay behind this sudden change in routine. As the story unfolded, his reflective moments added layers to the narrative, gradually revealing the emotional weight behind the evening\u2019s events.<\/p>\n\n\n\n

Story<\/h3>\n\n\n\n

The script balances humour with deeply reflective themes. There are several well-timed comic moments that drew genuine laughter from the audience, providing welcome relief between the more serious reflections.<\/p>\n\n\n\n

As the play progresses, we gain a vivid sense of the couple\u2019s life together. Their story touches on difficult and often unspoken subjects, including the agonising decision of whether or not to have a child, followed by the devastating loss of a baby. The emotional impact of that loss lingers throughout the narrative, particularly in light of the earlier conversation about abortion.<\/p>\n\n\n\n

The story then moves toward the present evening, initially leading the audience to believe the pair are heading out to discuss the purchase of a canal-side caf\u00e9. Along the way we learn of Janet\u2019s past affair with her French teacher, an experience that meant far more to her than John ever realised. Although John never knew the truth, there remains a quiet suggestion that he may have long suspected something was amiss.<\/p>\n\n\n\n

Direction<\/h3>\n\n\n\n

The direction made effective use of stillness. At several points the actors froze in place, allowing the stage picture to hold while the narrative shifted between past and present. These quiet transitions worked well in signalling changes in memory without breaking the flow of the play.<\/p>\n\n\n\n

Writing<\/h3>\n\n\n\n

The script itself is thoughtful and well constructed. It weaves reflective moments with gentle comedy, giving the characters warmth and relatability. The use of flashbacks is particularly effective, allowing the audience to piece together the couple\u2019s shared history bit by bit.<\/p>\n\n\n\n

The final reveal provides a memorable conclusion. The reason for John\u2019s invitation to dinner turns out to be deeply personal: he has named a new Eddie Stobart<\/strong> lorry after his wife. It is a surprisingly tender gesture, bringing the story full circle and highlighting the enduring bond between the two characters.<\/p>\n\n\n\n

Audience Reception<\/h3>\n\n\n\n

The play was warmly received, with clear engagement from the audience throughout. Laughter at the comic moments and attentive silence during the more reflective scenes showed that the piece successfully balanced humour with emotional depth.<\/p>\n\n\n\n

Overall, Janet and John<\/em> is a thoughtful and engaging exploration of a relationship shaped by life\u2019s difficult choices and enduring affection, delivered through strong performances and confident, understated staging.<\/p>\n\n\n\n

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Review: Parallels<\/em><\/strong><\/p>\n\n\n\n

By E. Wood & N. Kinley<\/p>\n\n\n\n

Performed by: Rushen Players<\/p>\n\n\n\n

Review by: Anthony Lawler<\/p>\n\n\n\n

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The second play of the evening, Parallels<\/em>, explores the complicated intersections between personal relationships and the unseen emotional baggage people carry into them. Moving between a troubled marriage and a counselling room, the play examines alcoholism, family trauma, and the ways past experiences quietly shape present behaviour.<\/p>\n\n\n\n

Set<\/h3>\n\n\n\n

The set design made excellent use of the stage space. Through clever dressing and positioning, two distinct locations were created: the couple\u2019s home and the therapist\u2019s office. The use of a split-stage layout worked particularly well, visually bringing the audience into both worlds at the same time and reinforcing the idea that the private struggles of home life run parallel to the conversations happening in therapy.<\/p>\n\n\n\n

Lighting and Sound<\/h3>\n\n\n\n

Lighting supported this structure effectively. Spotlights were used to divide the stage and clearly distinguish between the two settings. These shifts helped guide the audience through the transitions without interrupting the rhythm of the play.<\/p>\n\n\n\n

Story<\/h3>\n\n\n\n

The play balances humour with serious subject matter. Several comedic exchanges between the couple drew genuine laughs, helping to offset the heavier themes that run through the narrative.<\/p>\n\n\n\n

As the relationship begins to unravel, the couple turn to counselling, and the dynamic shifts into a series of therapy sessions. These scenes feature strong back-and-forth dialogue between the characters, allowing the audience to see both sides of the marital breakdown.<\/p>\n\n\n\n

A particularly effective device is the counsellor\u2019s use of the fourth wall. By stepping out of the scene and addressing the audience directly, she reveals her own thoughts and reactions to the session as it unfolds.<\/p>\n\n\n\n

Gradually, it becomes clear that the counsellor herself is dealing with unresolved issues from her own past, particularly surrounding her alcoholic mother. These reflections add another emotional layer to the story.<\/p>\n\n\n\n

One of the more moving moments occurs when the Serena sings while recalling memories of her father. The scene reveals both her longing for him and her deep frustration that she went to work on the day he died, a memory that clearly continues to haunt her.<\/p>\n\n\n\n

The play then shifts again to the counsellor\u2019s own life at home, where she is seen speaking to her mother and expressing years of pent-up frustration. In a striking reveal, the audience learns that her mother is actually dead, highlighting just how deeply these unresolved emotions continue to affect her.<\/p>\n\n\n\n

By the final counselling session, the couple appear to have made progress and found some peace with their pasts. However, the play leaves us with the suggestion that while the couple may have confronted their ghosts, the counsellor herself is still struggling to do the same.<\/p>\n\n\n\n

Direction<\/h3>\n\n\n\n

The direction made particularly strong use of the fourth wall, allowing the counsellor\u2019s private thoughts and fears to be shared directly with the audience. This device helped deepen the narrative and provided insight into a character who might otherwise have remained distant.<\/p>\n\n\n\n

The pacing of the piece was also well judged, keeping the audience engaged as the story moved between humour, confrontation, and emotional reflection.<\/p>\n\n\n\n

Writing<\/h3>\n\n\n\n

The script is sharp, thoughtful, and often very funny. It manages to tackle the serious subject of alcoholism and family trauma while still providing moments of levity. The dialogue feels natural and the layered storytelling structure supports the central theme of parallel struggles within different relationships.<\/p>\n\n\n\n

Audience Reception<\/h3>\n\n\n\n

The audience remained engaged throughout the performance. The well-timed comic moments offered relief from the heavier themes, while the emotional depth of the story ensured the play remained compelling from beginning to end.<\/p>\n\n\n\n

Overall, Parallels<\/em> is a well-written and well-directed piece that thoughtfully explores the echoes of family history within adult relationships, delivered through strong performances and a clever use of staging.<\/p>\n\n\n\n

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Review: Theodora<\/em><\/strong><\/p>\n\n\n\n

By Gemma Varnom<\/p>\n\n\n\n

Performed by: Starling Crew<\/p>\n\n\n\n

Review by: Anthony Lawler<\/p>\n\n\n\n

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The third play of the evening, Theodora<\/em>, presents a striking and unusual premise. Set in the final moments before an asteroid is due to strike Earth, the play follows two former lovers who reunite to face the end of the world together. What begins as a reflective encounter soon becomes an exploration of unresolved emotions, past relationships, and the complicated truths people confront when time is running out.<\/p>\n\n\n\n

Set<\/h3>\n\n\n\n

The set was very simple but highly effective. With minimal staging, the focus remained firmly on the interaction between the two characters. The stripped-back design allowed the performances and dialogue to carry the emotional weight of the piece.<\/p>\n\n\n\n

Lighting and Sound<\/h3>\n\n\n\n

Lighting and sound were used to support the atmosphere of the play, subtly reinforcing the sense of urgency and tension that comes with the knowledge that the world is about to end.<\/p>\n\n\n\n

Performances<\/h3>\n\n\n\n

The strength of the play lies largely in the performances of the two actors.<\/p>\n\n\n\n

Mia, played by Gemma Varnom demonstrated excellent chemistry with her counterpart, creating a believable dynamic that shifted naturally between humour, nostalgia, and confrontation.<\/p>\n\n\n\n

Danny played by Thomas Iain Dixon delivered a convincing portrayal, grounding the character\u2019s emotional shifts and frustrations in a way that made the relationship feel authentic.<\/p>\n\n\n\n

Story<\/h3>\n\n\n\n

The story centres on a pact between the two characters to be together at the end of the world. Their reunion becomes a moment to confront old memories and unfinished conversations.<\/p>\n\n\n\n

As the asteroid approaches, the pair explore their fears, their family dynamics, and the strange reality of the world around them as society braces for its final moments. This shared reflection gradually leads them back to their own past relationship.<\/p>\n\n\n\n

They begin to revisit how things once were between them, recalling old feelings and missed opportunities. However, nostalgia soon gives way to arguments as old frustrations resurface. Despite this tension, moments of reconciliation follow, highlighting the complexity of their shared history.<\/p>\n\n\n\n

One particularly memorable moment involves an attempt at synchronous dancing, a hilariously awkward sequence that brought a great deal of laughter from the audience and provided a welcome moment of levity in the midst of the darker themes.<\/p>\n\n\n\n

The tone then shifts again as deeper emotions surface. The male character expresses his long-held belief that they could have had a serious relationship together, along with his anger that it never happened, a frustration he places largely at her door.<\/p>\n\n\n\n

In the final moments, the play takes a darker and more serious turn. The confrontation escalates into a physical attack, forcing the female character to defend herself and finally speak honestly about how she truly feels, before throwing Danny from the apartment to face the end on his own.<\/p>\n\n\n\n

Just as this emotional climax unfolds, the inevitable happens, the asteroid strikes, bringing the story to its abrupt and powerful conclusion.<\/p>\n\n\n\n

Direction<\/h3>\n\n\n\n

The play was well directed, making effective use of both the limited set and the available stage space. The simplicity of the staging allowed the emotional intensity of the performances to remain at the forefront.<\/p>\n\n\n\n

Writing<\/h3>\n\n\n\n

The script is an original and engaging piece of writing. It moves at a strong pace while still giving the audience time to absorb the emotional developments within the story. The dialogue is sharp, often funny, and occasionally deeply reflective.<\/p>\n\n\n\n

The use of comedy throughout helps balance the darker themes, creating a play that is both entertaining and thought-provoking.<\/p>\n\n\n\n

Audience Reception<\/h3>\n\n\n\n

The audience remained fully engaged throughout the performance. There were several genuine laugh-out-loud moments, balanced with audible gasps as the tension in the story built toward its conclusion.<\/p>\n\n\n\n

Overall, Theodora<\/em> is a bold and imaginative piece that blends humour, nostalgia, and emotional confrontation within the extraordinary setting of the world\u2019s final moments.<\/p>\n","protected":false},"excerpt":{"rendered":"

Review: Janet and John By Michael Pearcy Performed by: The Service Players Review by: Anthony Lawler The opening play of the evening, Janet and John, invites the audience into the private world of a long-married couple as they reflect on the moments that have shaped their lives together. Through a series of monologues, memories, and … Continue reading Day 1 MADF Festival of One Act Plays<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":10,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5516","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/madf.im\/index.php?rest_route=\/wp\/v2\/posts\/5516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/madf.im\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/madf.im\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/madf.im\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/madf.im\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5516"}],"version-history":[{"count":4,"href":"https:\/\/madf.im\/index.php?rest_route=\/wp\/v2\/posts\/5516\/revisions"}],"predecessor-version":[{"id":5521,"href":"https:\/\/madf.im\/index.php?rest_route=\/wp\/v2\/posts\/5516\/revisions\/5521"}],"wp:attachment":[{"href":"https:\/\/madf.im\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/madf.im\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/madf.im\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}