Review: DEAR MARTIN, Arcola Theatre
Photo credit: Charlie Flint
When Dave finds out his wife has been sending saucy letters to a patient in a high-security psychiatric hospital, he does the only logical thing: befriends the man and hires him as his unofficial marriage counsellor. Madeleine Brettingham’s Dear Martin turns this bizarre premise into a sharply written, laugh-out-loud exploration of love, mental health, and the kind of friendship that can only blossom between a hopeless romantic and a charismatic institutionalised stranger.
Dave, a nervous and socially awkward man, is devastated when he uncovers the letters between his wife Lucy and Martin. Determined to save his marriage, he seeks out Martin, only to find his opposite in every way. Where Dave is anxious and unsure, Martin is smooth, composed, and exudes confidence. What begins as a confrontation evolves into an unexpected mentorship, with Martin—reluctantly at first—offering advice to help Dave win back his wife.
The dynamic between the two leads is the heart of Dear Martin. Alex Mugnaioni shines as Martin, commanding the stage with charm and a razor-sharp wit. His performance masterfully balances between being both brilliant and unsettling, keeping the audience guessing. Ben Simpson is equally captivating as Dave, bringing a blend of vulnerability and comedic timing to the role. His portrayal is so endearing and authentic that, despite Dave’s many flaws, the audience remains invested in his journey.
The chemistry between Mugnaioni and Simpson is palpable. Their opposing energies play off each other perfectly, driving the humour and drama forward. Under Wiebke Green’s tight direction, Brettingham’s sharp writing is allowed to shine, with jokes consistently landing without ever feeling forced.
The supporting cast adds further depth and vibrancy to the production. Amelia Donkor is a revelation, effortlessly transitioning between vastly different roles. She is both menacing as Martin’s psychiatrist Dina and delightfully unhinged as Cece, a mother clinging to the hope of her son’s release. Edward Judge brings warmth and subtle humour to the role of Ben, another patient in the ward, managing to avoid any hint of caricature.
Kit Hinchcliffe’s minimalist white set is an ideal canvas, capturing the sterile environment of the psychiatric facility while allowing the performances to take centre stage. The smooth lighting transitions add to the play’s brisk pace, keeping the energy up even when the script occasionally loses momentum about three-quarters of the way through.
Though there are some lingering questions about Martin’s backstory and the reasons behind his confinement, the play ultimately delivers a satisfying and well-rounded conclusion. The evolving dynamic between Dave and Martin is particularly compelling, as their relationship changes them both in unexpected ways.
Dear Martin is a clever and engaging play that offers a fresh and funny take on marriage, mental health, and the healing power of friendship. With standout performances and sharp writing, it is well worth seeing.
**** Four stars
Reviewed by: Aleeza Humranwala
Dear Martin plays at London’s Arcola Theatre until 29 March, with further info here.
