Arsenic and Old Lace

From the moment Kate Mannix entered the stage as Aunt Abby Brewster, she commanded attention and stole the spotlight with her confident delivery and strong stage presence. Her sharp timing, expressive facial expressions, and commitment to the role brought depth and humour to the character making every scene she was in memorable. She was supported by Margaret Olive, as her partner-in-crime Aunt Martha Brewster. Olive brought a delightful oblivious and misguided honesty to her character which made audiences love her and her dedication to their numerous acts of charity. Her line “Oh piffle!” serenely delivered immediately brought back memories of childhood aunts.

Brett Watkins brought the earnest and well-meaning Mortimer Brewster to life with energy and impeccable comedic timing. Watkins often allowed his face to say a thousand words and heighten the humour of each moment. Mortimer’s sharp dialogue, moral convictions and mounting panic drive the comedy, and he becomes the emotional centre of the play. The interactions between Watkins and Emma Lebreuf as his love interest Elaine Harper are delightful. Lebreuf brings a sweetness to the play which is in stark contrast to the frantic energy of Mortimer and the sinister undertakings of other characters. The scene where Mortimer is asking Elaine to leave is a masterclass in the comedy being heightened through the strong physicality and the performers’ ability to give and take with one another, creating a lively rhythm allowing each performer to shine.

The second act has a much darker feel to it with the arrival of Jonathan Brewster, played by Thomas Southwell, and Dr Einstein, played by Jem Rowe. These two performers dramatically shifted the tone, raising the stakes and intensifying the comedy as their sinister presence contrasted sharply with the play’s already eccentric household. Their performances were highly contrasting yet perfectly complementary. Southwell commanded the stage with a menacing physical presence, deliberate walk, and shadowed face that amplified his sinister madness. While Rowe was outstanding as the bumbling, drunken and understated sidekick providing a humorous counterpoint that highlighted the absurdity of their schemes.

The standout was the character Teddy Brewster, Mortimer’s charmingly deluded, patriotic, and absent-minded brother who believes he is Theodore Roosevelt, complete with gesture and imaginary adventures. Myles Burgin did an outstanding job bringing Teddy to life, using precise timing, dry humour, and a steadfast belief in his own reality to make the character both hilarious and endearingly loveable. His constant calls of “Charge!” and unwavering dedication to building the Panama Canal provided some of the most memorable and laugh-out loud moments of the performance, perfectly showcasing Burgin’s timing and commitment to Teddy’s delightfully absurd reality.

Rounding out the characters were several police officers, the Reverand, the doctor and the corpses. These characters were brought to life by a stellar ensemble who all played multiple roles with conviction. Often the unsung heroes of the production, the ensemble played a vital role in bringing the world of the play to life. They padded out scenes with energy and detail, provided essential support to the main characters, and added depth and texture that enriched the overall comedy and rhythm of the performance.

None of this would have been successful though without the amazing set which provided the Brewster’s home. The set was a simple one-room which was maintained the whole play as the Brewster’s living room. Constant references being made to the attic, the cellar, the kitchen and the neighbouring cemetery allowed audiences to picture the wider house and it’s surrounds. Steve Rowe was deliberate in how he had his actors engage with those alternative settings and it brought a richness to the simple living room setting. This was enhanced by the intricate details weaved throughout the room, from the lace cloths to the pendulum on the clock and the integral window seat which was often the focus of the scene. The hatstand, covered with its abundance of male hats, in a female-owned house, was a constant and whimsical reference to the sinister works of the aunts. Though never referenced or referred to, Mortimer’s interaction with it and the way he looked at it each time he discussed the bodies which were in the cellar was comedic gold.

Each scene was enhanced by subtle lighting changes which was used to effect in specific moments throughout the show designed by James Winters. The exterior of the house, lit and seen through the window, showed the passage of time. Whilst the lighting on stage created shadows and assisted with the absurdity of different scenes. One of the best lighting states was the darkened house when Johnny Brewster and Dr Einstein arrive, with the aunts being visible in a glow from the stairs. The lighting was used to highlight how the mood and other characters was impacted by the arrival of these characters. Enhancing the production was the clever use of music, reminiscent of 1940s theatre, to underscore suspenseful moments or highlight a character’s recurring traits, adding an extra layer of atmosphere and humour to the show.

Whilst there were some minor opening weekend fumbles they can be easily overlooked due to the overall solid production standard. With such an intimate theatre space, every seat has a perfect view of the stage, and George Cartledge has done a solid job of ensuring sound is perfect throughout the show.

Mortimer’s words echo long after the curtain falls: “Insanity runs in my family, it practically gallops.” Leaving the theatre, I found myself laughing at traits in each character that are universal - quirks I recognise in family, friends, and even myself. Coupled with the genuine affection the characters show one another, and the way their relationships ebb and flow throughout the play, the production resonates with audiences of all ages. A thoroughly entertaining and polished opening to the 2026 season for The Castle Hill Players.

Sarah Webster