Jermyn Street Theatre – until 15 November 2025
Reviewed by Claire Roderick
4****
The story of Patty Hearst, granddaughter of publishing magnate William Randolph Hearst, and her abduction and radicalisation by the Symbionese Liberation Army has been the inspiration for many works of fiction. Katherine Moar’s new play examines the shifts in dynamics of power, privilege and fame of “the heiress” and “the lawyer” over the decades since her trial.
Moar’s sharp and clever writing throws a few curveballs as sympathy is built for a character and then the rug is pulled out from under the audience with a devastating revelation.
Holly (Abigail Cruttenden) turns up at Robert’s (Nathaniel Parker) home in response to an unexpected letter from him. He hasn’t been in touch since she was convicted of the robberies committed with the SLA after they abducted her from her college apartment but is now asking for her help. Although the allegations against him are never made explicit, it is made clear that a reporter has an exposé of his sexual misconduct or assault. The pair expertly trade barbs as they attempt to discern each other’s motives and feelings, dancing around the giant sofa that dominates the set. A $50,000 monstrosity from the 1970s that Robert never lets anyone sit on, this serves as the symbol of his ego and male pride – and is immediately mocked by Holly.
As Holly questions why Robert has asked for her help, we see the younger versions (Katie Matsell and Ben Lamb) of the pair’s first meeting when Robert was a young hotshot lawyer. Holly’s privilege and social training see her treating the meeting like a cocktail party, offering drinks and trying to engage in small talk while Robert is all business, telling her what not to say to convince the jury and public that she is a victim. As the meetings continue, Robert does some caring things, like bringing Christmas crackers, but it always seems that he is playing Holly and she is so used to getting what she wants that she doesn’t notice. As the trial begins, Robert becomes as famous as Holly, appearing on TV shows and being invited to every party that matters. His distraction in the courtroom, hungover and flirting with women, is why Holly believes that she was found guilty.
The fallout from these events has haunted the pair in different ways, Even though Robert rails at Holly for embracing her victimhood so tightly, he is the one that is the victim of his own success and bad choices, while Holly still has her money and normal family life. His 1970s reaction to hearing of her rape and brushing it aside as sex comes back to haunt him, as do the younger versions of the pair in the final scene. Throughout the play, flashback scenes are watched by the older characters, often handing each other props, but in the very satisfying ending, they have conversations and young Robert is shocked by what he sees.
Moar doesn’t dig too deep into the issues raised by the protagonists’ story, instead we see the aftereffects of bad choices which is just as affecting. Josh Seymour’s slick direction keeps this short play moving seamlessly, with a surprisingly dynamic energy on such a small stage. Ceci Calf’s set brilliantly evokes the broken state of Robert’s life – boxes full of memories and tat surround the huge couch. The cast are phenomenal: Ben Lamb’s confident arrogance and showmanship still visible for fleeting moments in Nathaniel Parker’s increasingly desperate but unapologetic demeanour. Katie Matsell’s frightened young girl still clinging onto the idea that her family connections will keep her out of jail is harder to see in Cruttenden’s brittle and closed Holly, but the change in power dynamic is portrayed wonderfully as each character sits next to their 1970s version. Robert’s bravado and strength is now all hot air and bluster while Holly has a steely strength.
An intriguingly intelligent, entertaining and riveting play that has a great future.
#Ragdoll #JermynStreetTheatre #KatherineMoar #AbigailCruttenden #NathanielParker #KatieMatsell #BenLamb #JoshSeymour #CeciCalf