Review: SANCTUARY, The Hope Theatre
Photo credit: Christine Rose
It’s February 2025. Cassie (Laura Shipler Chico) is hunkered down in her basement in Portland, Oregon, hiding from the post-presidential inauguration civil war raging outside. Frightened and prepared for the worst, she has stockpiled bottled water, canned food, and wine—something her lifelong friend Amelia (Andrea Milton-Furlotti) finds amusing when she arrives to join her. The set is simple but effective, evoking a lived-in, survivalist feel. Details like warm clothes, bottled water, and stacked canned goods show Cassie has been sheltering for a while.
Amelia, however, struggles to grasp the seriousness of the situation. She dismisses the riots as “boys being boys” and a “celebration” that will naturally die down. The women are ideological opposites: Amelia, a wealthy, religious conservative, and Cassie, a liberal feminist, clash over topics like gun control, infidelity, sexual assault, and racism without ever finding common ground. While these debates are central to the story, the characters feel two-dimensional, defined more by political stereotypes than humanity. Amelia is painted as a classic Republican—privileged, dismissive, and devout—while Cassie is the archetype of a paranoid, left-leaning intellectual. Neither character is given much depth, making it difficult for the audience to fully engage with their struggles.
The script hints at a deep, enduring friendship, but fails to convincingly explore how these two women, so diametrically opposed, have stayed close since high school. Questions of how their bond has survived their differences remain frustratingly unanswered. A fleeting moment where Amelia asks Cassie to recall a time she felt joy—the memory of watching puffins in the wild—is one of the few instances when their relationship feels genuine and poignant. It’s a rare glimpse of shared intimacy amidst the political chaos and one we wish was explored further.
The tension of the external conflict—the civil war raging above ground—is occasionally palpable, but these moments are inconsistent. When Amelia decides that Cassie is being overly paranoid and leaves the basement, she is confronted by the rioters. The implication of her assault and the revelation that her son and husband are among the rioters serve as a jarring wake-up call. Cassie takes her back in and tends to her, but the scene feels rushed and emotionally unearned, leaving the audience wanting more from this climactic moment.
There are sparks of humour scattered throughout the play, offering welcome relief from its heavy themes. Amelia calling Cassie out for her obvious hypocrisy saying she's a ‘tree-hugging patsy drinking from plastic glasses’ is a particularly amusing moment that highlights their camaraderie. Moments like this, where the friendship shines through, are the play’s most compelling and heartfelt. Unfortunately, these glimpses are fleeting, and the writing doesn’t capitalise on their potential.
While Christine Rose’s concept is undeniably relevant and thought-provoking, the execution of it all falls short. The play raises timely questions about political polarisation, denial, and survival, but its lack of nuanced characterisation undermines its emotional impact. With stronger performances and a more layered script, Sanctuary could be a seriously compelling exploration of modern divisions.
Despite its flaws, the play succeeds in provoking reflection. It challenges audiences to consider how we relate to the people we disagree with and what it means to remain connected in a fractured world. These are vital questions for our time, but Sanctuary offers more questions than answers.
Sanctuary is a tense and timely reflection on fractured friendships in a world on the brink of chaos.
** Two stars
Reviewed by: Aleeza Humranwala
Sanctuary plays at The Hope Theatre in Islington until 30 November, with further info here.
