Review: THE UNGODLY, Southwark Playhouse

Photo credit: Bernie Totten

The Ungodly, written and directed by Joanna Carrick, brings to life the tense atmosphere of 1645, capturing the turmoil of a village swept up in witchcraft accusations and religious zealotry. Following a sell-out run at Ipswich’s Avenue Theatre, the play makes its London debut at Southwark Playhouse Borough. Based on true events, the story follows Susan Edwards, the step-sister of the infamous witchfinder General Matthew Hopkins, as she navigates the horrors of a community turned against its own.

Staged in the round, the production’s intimate setting allows the audience to feel deeply connected to the unfolding story. The set, which is unpacked piece by piece by Sarah Edwards (Nadia Jackson) and Richard Edwards (Christopher Ashman), establishes an engaging foundation of teamwork and tension. Ashman’s portrayal of Richard, particularly his humourous attempts to persuade Sarah to marry him, adds levity, drawing chuckles from the audience as he playfully tries to win her over. The chemistry between Jackson and Ashman gives this moment balance, interweaving humour with the underlying tension of the play.

Christopher Ashman stands out throughout, blending humour with a subtle intensity. His moments of levity offer welcome relief in an otherwise serious narrative, and his seamless transition into darker emotions adds depth to his character.

The music punctuating each scene gives the production an episodic feel, reminiscent of a period drama, effectively moving the story forward and adding structure to the historical setting.

Nadia Jackson as Sarah and Vincent Moisy as Matthew Hopkins deliver strong performances, though their intensity feels slightly heightened in the close quarters of the round staging. This level of projection would be ideal for a larger venue, but in this intimate setting, a slightly softer approach may have conveyed the story’s weight more effectively. However, as the play progresses, both actors settle into a natural rhythm, lending greater nuance to their characters.

Rebecca West (Rei Mordue) is introduced in the second act, an interesting choice that raises the stakes as her presence reveals further layers of conflict. Mordue’s accent is consistent, one of the most stable in the production, but occasionally made understanding her lines challenging, impacting the audience’s connection with her character.

Vincent Moisy shines in the second act as a passionate witch hunter. His transformation from a fragile, stuttering figure to a determined accuser is striking. Though the stutter sometimes feels slightly overemphasised, Moisy’s growth in the second half adds dimension to the play’s exploration of zealotry and faith.

The lighting and shadow work in Act 2 depicting the jail cell is particularly well-executed, maximising the limited space and adding a visually compelling layer.

The final scene between Sarah and Richard is especially poignant, as Richard offers to help Rebecca move on from witnessing her mother’s execution. Richard’s compassion clashes with Sarah’s rage; driven by grief over her own child’s death, Sarah insists Rebecca’s mother deserved her fate. This moment captures the danger of absolute conviction as Sarah’s anger at Richard’s conscience turns into doubt about the horrors they’ve endorsed. In a world where women’s lives could be destroyed on mere accusation, the play leaves a haunting message about the perils of blind faith and the terrifying vulnerability of women in such a society. The scene effectively raises the question of whether one can ever truly know if they’re carrying out God’s will.

While compelling, the writing could delve further into the trials themselves, as this key aspect sometimes felt skipped over in favour of the surrounding personal dramas. However, given it was only a four-person cast, the actors did an impressive job bringing this layered story to life, capturing both the intensity of the historical moment and the play’s emotional stakes.

The Ungodly is an engaging performance with a fascinating story. The historical basis of the play lends weight to the narrative, and while there are moments of brilliance, a few adjustments in focus and pacing could elevate its impact even further.

*** Three stars

Reviewed by: Laura Harris

The Ungodly plays at Southwark Playhouse Borough until 16 November, with further info here.