A visit to the charming Drayton Arms in West London is always a pleasure, and its intimate upstairs theatre once again proves an ideal setting for new, personal work. Maybe I Should Stop, a one-hour solo play written and performed by Oscar Brudenall-Jones, offers a raw and compassionate portrait of a young man wrestling with the destabilising aftermath of loss. The play follows Aaron as he navigates bereavement, the five oft-cited stages of grief, and the heavy cocktail of guilt, confusion, and mental strain that accompanies them.
Staged in near-complete blackout, the production embraces simplicity with striking effectiveness. A single chair and a few flowing curtains make up the entirety of the set, placing full focus on the performer. The choice pays off: with such minimal surroundings, every shift in Brudenall-Jones’ physicality and vocal tone becomes charged with meaning. The lighting design adds a layer of interest, using stylistic changes, sometimes subtle, sometimes more abrupt, to signal scene changes.
The narrative centres on Aaron’s loss of his father to Covid-19, and the play does not shy away from the complexities of that moment in history. It touches on the unsettling divide between scientific knowledge and expertise, alongside the pockets of ignorant public opinion shaped by denial, misinformation, and conspiracy thinking. This context is handled thoughtfully, neither preachy nor heavy-handed, but as an essential backdrop to Aaron’s spiralling sense of responsibility. His guilt over his father’s death is palpable, and the weight is intensified by the troubled relationship the two shared in life – a tension Brudenall-Jones conveys with sensitivity.
As a performer, Brudenall-Jones is captivating. He moves seamlessly between humour and heartbreak, finding comedic rhythms that puncture the intensity without undermining it. The script demands a vast volume of dialogue, yet he delivers it with remarkable ease, fluidity, and emotional clarity. His ability to sustain the audience’s attention for an hour, without the support of other actors or elaborate staging, is commendable.
The play ultimately offers a sincere and heartfelt exploration of grief – its unpredictability, its circular nature, and its ability to dredge up old wounds while opening new ones. For anyone who has experienced loss, especially during the disorienting years of the global pandemic, the emotional beats of Aaron’s journey will feel powerfully familiar. While the piece may not break new ground theatrically, its honesty and humanity make it a moving and quietly resonant experience.
Review by Bernadette Lintunen
“Yes, he’s in a Celebrations tub. No, he’s not in with the Bounties.”
Aaron, an out of work entertainer, has nicked his dad’s ashes and hidden them in a tub of chocolates. Now he’s on his way to Cornwall with no money, a half-baked plan, and the police in hot pursuit. Catch him while you can!
Aaron – Oscar Brudenall-Jones
Writer – Oscar Brudenall-Jones
Director / Producer – Esalan Gates
Lighting Designer – Conor Costelloe
MAYBE I SHOULD STOP
Drayton Arms Theatre
18 to 29 November 2025
