★★★☆☆
The Lace Market Theatre has long been known for its high-quality productions, and their staging of Alys, Always is no exception. This is a show packed with strong performances, engaging staging, and a talented cast—but does the strength of the production manage to elevate a script that, at times, feels a little too predictable?
Alys, Always tells the story of Frances (Clare Moss), a thirty-something sub-editor at The Questioner, whose uneventful life takes an unexpected turn when she stumbles upon a car crash. The driver, Alys Kyte, utters her final words to Frances before passing away. That coincidence is enough to connect Frances to the Kyte family, led by famous novelist Laurence Kyte (Gurmej Virk). As Frances befriends Polly Kyte (Millie Rushworth), forms a romance with the newly widowed Laurence, and plotting her career progression with Charlotte Black (Melanie Hamilton) the audience is left wondering: is she an opportunist, a manipulator, or simply someone enjoying a stroke of luck?
Lucinda Coxon’s adaptation of Harriet Lane’s 2012 novel plays with the well-worn trope of an outsider infiltrating high society (think of every Hallmark movie ever). But unlike the other stories—where the stakes feel urgent, and the protagonist is always on the brink of exposure—Alys, Always keeps things weirdly calm. Frances’s rise through the ranks is so subtle and unchallenged that the play lacks real tension. The absence of high stakes makes the plot feel less like a gripping psychological thriller and more like an extended character development. While the performances are engaging, there’s a sense that the play never quite builds to the drama it promises.
That being said, what does make this production shine is its cast and creative team, under the direction of Helen Sharp. Guy Evans’s set design is modern and stylish, using reflective blinds to create a slick, contemporary aesthetic. These also serve as projection surfaces, adding extra visual detail to the production. Simon Carter’s sound design and Allan Green’s lighting design work well in setting the mood, though a bustling office soundscape paired with four empty chairs created an oddly dissonant moment.
Leading the cast, Clare Moss delivers a nuanced and quietly compelling performance as Frances. She captures the character’s unassuming charm with a naturalism that makes her both endearing and intriguing. Her dry wit and subtle delivery make Frances feel like a real person rather than a theatrical construct, and she holds the audience’s attention with ease. As Frances’s new best friend Polly Kyte, Millie Rushworth is a delight. Her portrayal of the privileged but oblivious socialite is infused with energy and warmth—her petty grievances are played with such dramatic intensity that they become memorable moments.
The Questioner office is brought to life by a motley crew of characters. Charlie Harris’s Oliver is a scene-stealer, delivering an over-the-top and endlessly amusing performance with impeccable flamboyance. Michaelle Smith’s Mary Pym is the perfect office gossip, latte and MacBook always in hand. Wagner Rulli’s Sid is one of the most effortlessly natural performances of the night, bringing an understated authenticity to his role.
Gurmej Virk’s Laurence Kyte strikes the perfect balance between a grieving husband and a man suppressing his emotions for the sake of his family. It’s a restrained, controlled performance that adds weight to the production without ever tipping into melodrama—a trap that some amateur productions fall into. Charlotte Hukin and Melanie Hamilton deserve credit for their seamless multi-roling, while Bernard Whelan and Ollie Ennis provide some unexpected but highly enjoyable comedic moments.
There were a few technical elements that could have been refined. Scene changes felt slightly overlong, disrupting the otherwise steady pacing of the play. Some of the ‘posh’ accents in the first act sounded a little forced, though this seemed to settle as the show progressed—perhaps opening night nerves. And a small personal plea: please don’t drag chairs across the stage! Also, throwing a blanket over three chairs to suggest a sofa? We’re in a theatre—we’ll happily suspend our disbelief.
Despite some of the script’s limitations, this was an enjoyable evening of theatre. The cast and crew have clearly put a huge amount of effort into creating a polished, thoughtful production, and that hard work has paid off. The show was met with well-earned applause, and the performances alone make it well worth a visit.
Alys, Always runs at the Lace Market Theatre until 22nd February 2025—grab your tickets before they’re gone!
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