by Alan Ayckbourn is a comedy thriller featuring seven characters. It stands apart from much of his other work, offering a different style of comedy. At times the plot is deliberately confusing, making it a play you cannot second-guess.
The action is set in a luxury flat in the London Docklands, overlooking the River Thames. The staging conveyed this cleverly with French doors leading onto a balcony. When the doors were open, the audience could hear music and noise drifting from a passing party boat; when they were closed, the sound faded. These touches created the convincing impression of a flat situated in a busy riverside environment.
At first glance, the play appears to be a light piece about someone acting as a flat-sitter while the owners are away. As it develops, you might assume it will turn into a simple case of mistaken identity with a farcical edge. However, this is not the case. Flatspin is not a farce but an intriguing mystery that, particularly before the onset of Act Two, can at times bewilder the audience.
The play is set in August on a sweltering bank holiday Monday. In the opening scene, the characters comment on the heat, noting that it is nearly 30 degrees outside. One small quibble is that some of the costumes did not reflect this temperature. While certain roles required more formal attire, a brief adjustment—such as removing a jacket to reveal a short-sleeved shirt—would have made the dialogue about the heat more convincing.
The leading role, Rosie Seymour, was played by Sara Bissett. As the central character, Rosie interacted with everyone and carried a demanding number of lines. She was rarely offstage, and when she was, it was only to make a quick costume change. Rod Bissett played Sam Berryman, the quiet next-door neighbour who is constantly misjudging situations early on. Later, however, we discover he is someone quite different. Rod handled the transition between these contrasting personalities smoothly. Carl Horton gave a powerful performance as Maurice Whickett, bringing a menacing edge to the stage. He was well supported by Abby Simpson as Tracy Taylor, whose presence was equally intimidating—I was left unsure which of the two was more unsettling.
Special credit must also go to director Lucy Talbot, who skilfully guided this complex play. With its fast-changing entrances and exits, shifting identities, and the challenge of maintaining suspense while keeping the comedy alive, Flatspin requires very precise handling. Lucy kept the pace sharp and never allowed the energy to dip, even during the play’s more intricate exchanges. The blocking—often complicated with multiple characters crossing paths in a confined setting—was handled with clarity and precision, ensuring the audience could always follow the action without confusion. Her direction gave the production its momentum and helped the actors shine. Oh! I’ve just remembered, Lucy was a first time director with this piece – nothing like jumping into the deep end. Fantastic job Lucy.
Overall, Flatspin is an unusual Ayckbourn play—unexpected, intriguing, and at times bewildering. It keeps the audience guessing and reminds us to be wary of our neighbours, for behind closed doors not everything is as it seems. Judging by the reaction, the audience was pleasantly surprised to encounter this different side of Alan Ayckbourn. Now, I must water those plants..
Reviewed by Emma T
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