Shadow of Doubt - Fine Comb Theatre Company (19 April 2025)

“What happens when love turns into fear? When the line between care and control begins to blur?”

The challenge with reviewing such a tightly constructed, supremely acted, and smartly presented work is in not revealing its secrets. This is a powerful tale that audiences should experience on their own terms, drawing their own conclusions, and react to in the moment. I therefore apologise in advance if what follows is, at times, somewhat oblique. It is, however, in keeping with the themes of the play where what lingers beneath the surface can completely alter perceptions of the truth as seen from multiple perspectives. In this, writer-director Rachel McMurray has created a nuanced, confronting, and thought provoking production that is brilliantly written and staged.

Shadow of Doubt is an exploration of a relationship between David (Nathaniel Langworthy) and Heather (Lainey O'Sullivan) from the meet-cute first date to their courtship, marriage, and the slow unravelling of that love. We know early on that there is a disturbance to what appears to be a harmonious match as the play periodically moves forward in time to suggest a far darker strand. 

For now, let's concentrate on Langworthy and O'Sullivan who are terrific as David and Heather. A lot of time is invested in creating a believable relationship between the two and a level of comfort and intimacy on-stage that is enthralling. Langworthy is charming as David who is more a knockabout bloke who names his cars, is genuinely bedazzled by Heather, and cares deeply for her. O'Sullivan's Heather is smart, independent and more than capable of taking care of herself. The hints of the faultlines that will widen between them are subtly established while we are charmed by situations that are familiar, authentic, and beautifully rendered. There is an ease to their interactions, both in the naturalistic dialogue and, notably, the relaxed physicality of them being together. It's clear McMurray and Intimacy Mentor Molly Tipping have worked extensively with the actors to create this tangible connection which is crucial to later developments. 

As I was watching this I wondered about the spectre of what had been established with flash forwards to testimony in a courtroom by both parties. The change, when it comes, is deftly executed, increasingly harrowing, and recontextualises everything we have seen. The acting is superb as new information is revealed and key moments inverted in meaning and intent. There are, however, no easy answers or solutions which is testament to the power of the writing. 

Supporting all of this is a cohesive presentation of the world of the story; from the simple set design (Jake Pitcher) of blocks that the actors clamber over, slouch on, and has a functional component; to the inventive lighting design (Mick Rippon) that adds so much atmosphere and symbolic shadow and shading as events twist and turn; to very subtle sound design and music (Rebecca Riggs-Bennett) that heightens emotional beats and creates a sense of unease when appropriate. Even down to the set being a long strip where the audience sits in two rows on either side echoing a jury. The thought and attention to detail is impressive. 

To say more, I believe, would spoil a compelling theatrical experience. So let me say this - the performances are wonderful, the writing is superb and will feature in any end of year nominations for best new work, and the staging uses the space with expertise and precision. There are scenes of great charm and gentle humour but also exchanges that will be uncomfortable to watch with appropriate trigger warnings given in advance. The play will sponsor robust discussion of a difficult topic which is to its immense credit for such an insightful and nuanced approach. 

With ten performances remaining at the Blue Room Theatre until 3 May, this is an outstanding production that is thought provoking, original theatre at its best and is highly recommended.

Photos by Tallulah Chong