It’s a phrase that is perhaps overused, but here justifiably: this is a truly groundbreaking piece of theatre. You’ve Gone Quiet is one of those pieces of theatre that you are glad to have seen in the beginning of its journey through the world, if only to say “I was there” when it’s reached international fame, as there is every reason to believe this will take off to the stars. The writing, the direction, the staging, the acting, the story: all are truly exceptional.
The play’s central character is Beth, a transgender woman, a journalist, who agrees to help her desperate best friend Tara get pregnant. Tara gets lost in her own words and her own begging, frequently putting her foot in it, showing support for Beth but perhaps not truly seeing Beth as a woman. The unusual aspect throughout the play almost to the end is that we, the audience, are Beth. Everything is said to us, and we are responded to as if we have replied. It’s a device that works beautifully due to the writing and to the commitment of the actors whose intention and attention to us never falters. The result is empathy. We go through what Beth goes through, we see the world through her eyes.
The media manipulation of what happens as a result of this extraordinary situation and the world at large getting involved in what really is none of anybody’s business is a huge part of the play. The vilification of Beth as a potential sex offender, the betrayals, the extremism: all so believable as these things are happening all around us at the moment. The way stories are twisted by people and social media, the way people are manipulated because they actually need money to survive, or because we crave truth and certainty and someone is so certain in their beliefs that they end up following and agreeing with them; all of these are life as we know it at the moment. The truth and clarity of the writing shines through as a reflection of where we are and how we are now especially in the UK.
But for all its poignancy and truth the play is also incredibly funny and joyful. Tara’s opening monologue or speech to us as Beth, is laugh out loud funny, and it continues from there. Cerys Duffy’s writing is tight, clear and beautiful: there is no fluff, nothing is wasted. All the characters in it are full and rounded, there is no absolute angel or villain: people are there in all their flaws and triumphs. Beth played by Shane Convery finally appears at the perfect moment and is at last able to speak for herself, and Beth’s gentleness as well as strength comes across so beautifully. The moment towards the end where Beth hears the baby cry: Shane’s facial expressions slowly changing is a heartbreaking joy to watch, and the moment is held for the perfect length of time.
Gennifer Becouarn brings a lightness to Tara as well as depth and comedy timing to perfection. As the play progresses we also see her different facets, and the coercive control that her returning partner Ian has over her. Matt Roberts as Ian has channelled a particular type of man incredibly well, he must feel the dislike from the audience coming in waves yet doesn’t shrink. It’s so refreshing to see a Welsh person played so authentically, not only with accent but also in Cerys Duffy’s writing reflecting how the Welsh speak English, as well as some Welsh words and phrases in the play: a joy to hear.
Matt Vickery plays a conflicted and in love Rory so well, really at odds with himself and bubbling inner emotional turmoil about to burst. Oliver Redpath as his brother Gaz, initially just a ‘lad’, shows so much depth and understanding for the whole situation that by the end of the play we all want to cheer him. He has comedy in his veins as well as superb character portrayal he makes look easy. Sophia Vi is stunning as Samantha, delivering the bitchiest lines in the play with such delight and relish; yet hiding vulnerability. Her heartfelt shouting about needing money because of waiting for hormones she needs from the NHS is shocking and powerful; and her compromising herself for money and having to agree she was a ‘man in a dress’ is so heart wrenchingly sad.
There is everything to love about this play. From the insight into a world that few know much about, to the theatre craft on show. Andy McLeod’s direction is tight and focussed, including in the transitions between sometimes short scenes, done by people in character, making them a joy to watch. This is a production where everything has been considered, every little detail: from the lights to the music, to the story and the way it is told. This is an important story, for this time, and for any time; remarkable in every way, taking you on a roller coaster emotional journey of highs and lows. It is in every way brilliant, a standing ovation five star worthy show: a must see. Catch it if you can.
Lantern Theatre, 18 June 2026
You’ve Gone Quiet runs until 20 June 2026
Photos credit: Paul Macauley
