Faced with an irresistible opportunity, arranged between our Chairman Ann Roberts and Sally Hughes, Artistic Director at the Mill at Sonning, Wargrave Theatre took on an unprecedented challenge in transferring its production of The Unfriend by Steven Moffat after its successful run in Wargrave in late March to the Mill theatre to perform the play a further five times in mid-April. Not only would the cast and crew be faced with very much larger audiences in a wide auditorium, but they would also have to quickly get used to very different set layout and backstage geography.
But it all worked brilliantly! Many congratulations to everyone who took part in staging the play in both locations, where there was hardly a seat unsold throughout the nine performances, but in particular to Director Ann Roberts who masterminded the whole thing.
Below you will find a charming review by Anne-Marie Adams, aka the patronne of the Wargrave Theatre bar, of the play when it was performed at the Woodclyffe Hall in Wargrave, accompanied by a suite of photographs taken in final rehearsal by David Williams, for which we are very grateful indeed.
Following that, you will be able to read NODA’s enthusiastic report of the play when it was performed at the Mill at Sonning. This report was written by Charlotte Gouldsmith Leigh, kindly standing in for our usual NODA rep, Cate Naylor, who was away at the time. The report is complemented by a range of photos taken by members of the cast and crew during rehearsals and performances which go some way to encapsulating this (at the time) unique and memorable experience.
Review and photos from the Wargrave performances
The Unfriend Review by Anne-Marie Adams. Woodclyffe Hall performances 25th to 28th March 2026
“The soothing notes of Acker Bilk playing Stranger on the Shore, as the Woodclyffe Hall filled, might have given us an idea of what was to come in this intriguing play by Steven Moffat. We were lulled into a world of benign (or was it malign?) friendship fostered during a holiday cruise, where The Lindells first encounter Elsa, played outstandingly by Sara Beazley. The loud, brash, ‘people positive’ American, Elsa, explodes into the quiet, supressed, suburban lives of Debbie and Peter, and their stroppy, challenging children. Teenagers, Rosie and Alex, first meet Elsa when she invites herself to stay with them all, in their home, a few months after the cruise.
Too late they ‘Google’ her and learn that, although never convicted, Elsa has been implicated in the murders of her father, her first husband, her second husband, her sister and two others, all by food poisoning. They agree they do not want her under their roof, but just cannot find a way to tell her to leave without causing unacceptable offence: and so, she stays. Graham Wheal was utterly convincing as Peter, the polite, procrastinating Englishman who just could not bring himself to cause any upset. Jo Cole gave an excellent performance as Debbie, able to assert herself forcefully with her husband but who was stifled and constrained when it came to trying to tell Elsa to leave the house.
Woven through the story is the interaction with the mind numbingly boring and passively aggressive neighbour, who wants Peter to share the cost of repair his garden wall. So excruciating is his presence that they cannot remember his name or indeed what he has been trying to discuss. Henry Marchant played this role skilfully causing me to wince every time he appeared.
As we waited expectantly for Elsa to bump off her next victim, we see a change in the Lindell household. Whilst Debbie and Peter are desperately trying to find an acceptable way to ask her to leave, Elsa gets computer addicted Alex to start exercising, even helping him to renovate an old bicycle from the garage, and to improve his social interactions with his Mum and Dad. Aiden Black was impressive as he took us through his journey of awkward teenager into maturity. Under Elsa’s influence, egocentric, antisocial Rosie comes to embrace her parents and brother as good people, Rhianna Inman played this role to a tee, getting us to empathise with the frustration she feels with her brother and then her transformation into worthwhile adulthood. The whole family come to love Elsa and they agree that they will miss her when she leaves them.
Along the way there is a police investigation at the Lindells’ house, when it becomes apparent that the subject of another of Elsa’s spontaneous friendships has been found murdered, but Elsa charms the officer and plies him with a constant supply of sandwiches. Fearing that PC Junkin, wonderfully played by Conor Black, might be Elsa’s next target, Debbie and Peter are desperate to know if he has developed any symptoms, specifically blood in his stools. I laughed out loud at the scene, conducted through the lavatory door, when they interrogate the officer and demand that he inspects the product of his recent ‘Number Twos’.
If truth be told, I laughed audibly throughout the entirety of this excellent production. I also felt the tension as I wondered just what would happen next and I felt a sense of warmth as we watched Rosie and Alex transform into loving, respectful adults. As the whole family gathered to say goodbye, it seemed that Elsa’s visit had been crime free until the annoying neighbour suddenly slumped forward over the cup of tea that Elsa had made him just before she left.
Throughout it all, Elsa maintained an extremely believable American accent and a stage presence that had me enthralled.
A show like this, of course, requires an excellent support crew to pull it all together. The Stage Manager was Dave Robinson, who along with Mark Cox and Henry Marchant constructed the set which was then painted by Sheila Williams and Sheila Brocklebank. The lighting cues were spot on under the management of Simon Calverley and Matt Pearse, as were the sound ones, overseen by Peter Knowles. Video appearances by, and news clips reporting on Elsa as ‘a murderer at large’ were prepared and presented with precision timing by Chez Annetts. The prompter for rehearsals was Helen Knowles, and the Front of House team were overseen by Eilish MacBean. Last but by no means least, Ann Roberts produced and directed the cast and crew into this theatrical triumph.
I would have been happy to pay the price to see a professional company put on this production. As it was, I was left feeling incredibly lucky to have seen this outstanding play performed by an amateur company right here in the heart of the village, and when I also think that I was able to do so with a glass of excellent wine provided by the Quill and Quaff pub in the corner, I am full of enthusiasm for the next production ‘Twelfth Night’ being staged on Mill Green as part of the Wargrave Village Festival from 10th to 13th June 2026.
If you are now regretting not seeing this play, you do have another opportunity. To reflect the excellence of this production it is transferring to The Mill at Sonning for 14th to 18th April 2026 and I would thoroughly recommend that you get tickets. I saw all four performances and will still be going to Sonning to see how it transfers into a larger setting. Normally I might be wary of doing this, but I have total confidence in the abilities of Ann Roberts to lead her cast and crew on tour.
In our current sad world, we all need a little laughter, and this will certainly give you that in bucketloads.”
NODA report and photos from the Mill at Sonning performances
National Operatic & Dramatic Association London Region
Society : Wargrave Theatre
Production : The Unfriend
Date : 18/04/26
Venue : The Mill at Sonning
District : 13
© NODA CIO. All rights reserved Show Report
Overview
This report is for District 13, written on behalf of the usual NODA representative Cate Naylor, and what a joy it was to step into such a strong production.
The Unfriend is one of those scripts that lives and dies by its pace, precision, and the audience’s willingness to lean into the absurd. Thankfully, this production understood that completely. The writing itself is famously sharp, with critics noting its “pitch-perfect comic timing and escalating absurdity,” and Wargrave Theatre honoured that with a performance that was consistently funny, tightly paced, and genuinely engaging throughout.
What struck me most was the confidence of the direction. This is not an easy play to land. It demands clarity of character, rhythm, and a willingness to let the comedy breathe without ever losing momentum. Under Ann Roberts’ direction, the show never sagged. Not once did it feel like it lost its grip on the audience, which is no small achievement for a dialogue-heavy comedy.
The set design deserves real praise. It wasn’t just good, it was exceptional. Every detail had been thought through, right down to real fruit on the table and actual liquid in glasses. Doors felt like doors, not flats pretending to be something else, and those glimpses into rooms beyond added a layer of realism that pulled you right into the world. At times, I genuinely felt like I was sitting in the family’s living room rather than watching a play, and that’s a rare compliment.
Sound and lighting worked beautifully in tandem. Sound effects were subtle, never overplayed, and always perfectly timed. Phone notifications, car engines, everyday noises all blended seamlessly into the action. Lighting choices were understated but effective, guiding focus and marking the passage of time without ever drawing attention to themselves.
Overall, this was a confident, polished, and thoroughly entertaining piece of theatre, delivered with care, attention to detail, and a clear understanding of what makes this script tick.
Performances
The strength of this production lay firmly in its ensemble, with each actor contributing to a cohesive and believable world.
Elsa – Sarah Beazley
Sarah was an absolute standout. Her American accent was spot on, so much so that I found myself wondering if it was natural. She had a commanding stage presence and delivered some of the play’s best lines with deliciously dry timing. Her ability to balance charm with underlying menace made the character both hilarious and quietly unsettling.
Peter – Graham Wheal
Graham captured Peter’s awkward, slightly browbeaten nature beautifully. His physicality and delivery perfectly conveyed a man out of his depth, navigating increasingly absurd circumstances. His handling of the more uncomfortable comedic moments was particularly strong, landing them with precision and confidence.
Debbie – Jo Cole
Jo brought warmth and wit to Debbie, grounding the chaos around her. Her frankness, particularly in the face of the increasingly bizarre situation, was played to great comedic effect. The relationship between Debbie and Peter felt authentic and well-observed, adding depth to the humour.
Rosie – Rhianna Inman
Rhianna delivered a wonderfully recognisable teenage performance. The tone, the insincerity, the feeling of not quite being heard, it was all there and very relatable. Her interactions with the rest of the family were natural and often very funny, adding another layer to the household dynamic.
Alex – Aidan Black
Aidan impressed with a strong physical performance. His slouched posture and slightly awkward delivery captured teenage angst perfectly. It’s those small details that make a character believable, and he clearly paid attention to them.
Neighbour – Henry Marchant
Henry was a joy to watch. Every time he entered, the energy lifted. He leaned fully into the character’s slightly irritating charm, delivering lines with excellent timing. His recurring line, “Joan and I have discussed this at great length,” became a real audience favourite and was handled with great consistency.
PC Junkin – Conor Black
Conor made the most of a smaller role, bringing a slightly bumbling, awkward presence that worked well. The toilet scene was a highlight, played with good comic instinct. There’s potential (very small)to push the character even further for added impact, but it was already a solid and enjoyable performance.
TV Presenter – Stephanie Okupniak
Though a voiceover role, this was an important storytelling device (alongside the projection) and was delivered clearly and effectively. It supported the narrative well, particularly in revealing key plot developments, and integrated smoothly with the onstage action.
Creative Team
This was a production where the creative team clearly worked in harmony, and it showed.
Director & Producer – Ann Roberts
Ann Roberts should be incredibly proud of this work. The clarity of vision, pacing, and character development across the cast were evident throughout. She trusted the script, trusted her actors, and allowed the comedy to land naturally, which is exactly what this play needs.
Stage Management – Chez Annetts
Smoothly managed, with strong overall pacing. The pre-show announcement regarding set changes was a thoughtful touch and helped manage expectations. Tightening a few transitions further would enhance the already strong flow.
Set Construction – Dave Robinson, Mark Cox, Henry Marchant
Outstanding work. The set was not only visually impressive but immersive. The attention to detail, including fully realised spaces beyond visible areas, elevated the entire production.
Set Painting – Sheila Williams, Sheila Brocklebank
Beautifully executed, adding depth and realism. Every surface felt considered and appropriate to the world of the play.
Lighting – Simon Calverley, Matt Pearse
Subtle and effective. The use of lighting to indicate time of day and guide focus was handled with skill. The recap scene lighting was particularly clever and worth highlighting.
Sound – Peter Knowles
Exceptionally well balanced. Effects felt organic and part of the world rather than layered on top. This is harder than it looks and was executed very well.
Video – Chez Annetts
A smart addition. The use of projection for laptop content was clear, well-timed, and enhanced storytelling without distracting from the action.
Costume & Props Team – Ann Roberts & Cast
Thoughtful and consistent throughout. Costumes evolved naturally across the timeline of the play, reinforcing the passage of time. Props were well chosen, realistic, and used with confidence by the cast.
Final Thoughts
This was an accomplished and highly enjoyable production that demonstrated real care, talent, and attention to detail across all areas. The comedy landed, the world felt real, and the audience was clearly having a wonderful time.
Thank you for such a warm welcome at Wargrave Theatre Company. It was a genuine pleasure to be there.
And finally, I should note that I was stepping in to cover for the usual NODA representative for the region, Cate Naylor.
Charlotte Gouldsmith Leigh NODA Representative London Region District 14
