Review of Reformed - A New Play by Tommy Fletcher McMeekin

★★★

Set in a Britain of the near future under a newly elected government, Reformed is an ambitious new play exploring weighty themes including radicalisation, identity, friendship and political division. It is a production with plenty to say and, at its best, asks challenging questions rather than offering easy answers.

The performances are generally strong throughout. Elliot Drummond delivers a standout performance as Mark, bringing authenticity and emotional depth to a character caught between loyalty and conviction. Ben Harvey is equally convincing as Dan. Charlie O'Connor and writer Tommy Fletcher McMeekin complete the central trio with believable chemistry, creating friendships that feel lived-in and recognisable.

Where the production is less convincing is in the writing. Although the play presents itself as an exploration of opposing viewpoints, it ultimately feels weighted towards one side of the political spectrum. Several characters appear designed primarily to reinforce the play's message rather than emerging naturally from the story, making parts of the narrative feel more didactic than dramatically balanced.

There are also moments where credibility slips. An acid attack is dealt with in a way that seems surprisingly consequence-free, while some small but noticeable staging choices briefly pull the audience out of the action. A scene in which two characters are supposedly playing FIFA sees only one actor actively using a controller, while elsewhere a character types on an imaginary keyboard despite a physical computer supposedly being in front of him. These may seem minor observations, but they jar within an otherwise realistic production

Chess Nightingale's portrayal of the Reformed MP adopts a heightened style that feels somewhat disconnected from the naturalism of the rest of the cast. The character herself also feels underwritten, leaving the audience with little understanding of what prompted such a significant political transformation. Similarly, JD Hunt's Wayne never quite develops beyond his initial introduction, making him feel more like a vehicle for the play's themes than a fully realised individual. Several of Zac Meddah's supporting characters suffer a similar fate, with limited stage time leaving little opportunity for them to develop distinct identities.

Reformed is undoubtedly thought-provoking and benefits from several committed performances. Whilst I wasn't entirely convinced by its political balance or some of its narrative choices, it remains an ambitious piece that provokes discussion long after the curtain falls - surely one of theatre's most important functions.