Drama about drama is abound in a meandering dialogue between Peter (Jay Villiers) and his wife Fiona (Maryam d’Abo). The show’s programme lists the character name as ‘Peter’, while the play’s description lists Fiona’s husband to be ‘Ivo’ – one of quite a few instances where attention to detail is, to be frank, deficient. So, spoilers it is. Ivo Steadman is an actor. A very good one, even though he says so himself. The play opens with Ivo introducing himself as Peter, as in ‘Peter Sutton’, a fictional journalist at the very non-fictional The Times, because he is, it transpires, acting the role of Peter, who is due to visit their house to interview Fiona about a novel she has written, called Spanish Oranges. The illusion breaks when Fiona, having previously said she did not want to let out too many personal details, does just that in response to a question from ‘Peter’. Ivo breaks character, and snaps at her for not saying words to the effect of ‘no comment’. It quickly becomes evident that this is a marriage that has been on the rocks for some time.
They could not even agree on a strategy to unpack the many cardboard boxes dotted around the house, despite having completed the house move some time ago. In theory, then, this should provide plenty of dramatic tension. Ivo (or whatever his name is) likes to drop the f-bomb in conversation, and while there are people who seem to take pleasure in indulging in ‘eff, cee and effing cee’ with every second breath, his swearing is too sporadic to be fully convincing as a swear trooper. The irony was not lost on the audience when he yells, “I’m not shouting!” after Fiona has asked him to, um, stop shouting. But it was an example of how outdated the small amounts of humour were. The play might as well have had someone shout, “I’m not a very emotional person!” whilst crying – I’ve not seen that as a punchline in a show in a very long time, for good reason.
There’s plenty of use of mobile telephony and, once Ivo and Fiona’s daughter Lydia (Arianna Branca) arrives, mentions of social media influencers. Lydia’s arrival is a surprise to her parents, as she is enrolled at Newcastle University and the family home is in Camden. She has also packed absurdly light for a home visit, unless it is so short she does not even intend to change clothes before it’s time to head back to campus. A slight diversion from family politics comes in the form of a phone call from Ivo’s mechanic, who is working on his car: required repairs are more extensive than originally envisaged. “It’s an emergency!” Ivo pleads. Apparently, there are no car clubs or car hire firms anywhere near Camden. And no, Ivo, it’s not an emergency. A cardiac arrest is an emergency. So is a fire. So is someone suddenly losing consciousness. But a car being repaired is not. What’s more, the supposedly level-headed Fiona doesn’t point this out.
This is, I appreciate, a very roundabout way of saying the script could benefit from the services of a dramaturg. There’s not much structure to the play, and none of the characters are particularly likeable. I began to warm to Lydia but then she demanded to know something, and then proceeded to have a go at her parents for answering her question! There is some relatability here in career ambitions, and doing what is necessary to realise them, having a knock-on effect on quality family time. But there are a great many people out there with similar dilemmas and issues who get on with life without the melodrama and self-inflicted melancholy of this play.
Review by Chris Omaweng
Two artists. One marriage.
Fiona is a novelist on the brink of fame with a new book that blurs the line between fiction and confession. Ivo, once a celebrated actor, has been cancelled – and he suspects Fiona’s success may be built on the bones of his downfall.
Set over a single turbulent morning, this razor-sharp play examines the shifting power dynamics between love and ambition, truth and narrative, art and the people it consumes.
CAST
Lydia – Arianna Branca
Fiona – Maryam d’Abo
Peter – Jay Villiers
PRODUCTION TEAM
Writer – Alba Arikha
Director – Myriam Cyr
Set and Production Designer – Livi Carpenter
Production Manager and Sound Designer – Martha Barrow
Production Manager and Lighting Designer – Tom Beazley
Producer and General Manager – Lew Foreman
General Manager – Josh Myers
Stage Manager – Will Bond
Assistant Stage Manager – Brooklyn Boukhather
SPANISH ORANGES
Playground Theatre
11 February to 7 March 2026
