Many of us are aware of just how hard it is for new writers to have their voices heard, especially in this era of arts cuts and lack of funding. It’s often the smaller venues in London that champion new talent. One of these is Clapham’s Omnibus Theatre, which is holding a series of rehearsed readings of new work by writers who identify as LGBTQIA+ as part of their 96 Festival. Tonight, we are presented with Entwined.
Penned by George Rennie, a cast of actors perform from a script two-thirds of the play, with the final part still in development. The words ‘end of extract’ being uttered by Rennie, who read out the stage directions, sharply draws us from our reveries – so engaged were we in what could be described as domestic drama meets supernatural thriller with a hint of Black Mirror thrown into the mix.
Taking inspiration from Jekyll and Hyde, we are introduced to Jay, who relies on a healing app to aid his emotional well-being. Jay is a serial sleepwalker, often having no recollection of his unconscious actions. Plagued by grief over the sudden death of his brother three years ago, Jay begins to morph into Freddie during these nocturnal escapades and fully embodies the contrasting character of his more gregarious sibling. Is this a subconscious effort to heal or for Jay to even find his true self? Could it have anything to do with his increasingly intrusive app, which wants to keep tabs on his social media so it can optimise Jay’s wellness goals? A decade or so ago, this would have sounded like science-fiction, but we are all too aware of just how rapidly technology is growing with the rise of AI, and this strand of the play affords it a timely, contemporary commentary.
With a multitude of themes bubbling beneath this interesting premise, we are prompted to examine grief and how it manifests itself differently in each of us, along with the idea of identity, loss of one’s self, emotional repression, mental health, sexuality, and society’s increasing reliance on technology. Yes, there is a great deal crammed into these sixty-minutes, but crucially our attention is held. Considering this is a reading rather than a performance, that’s a very positive sign indeed.
Rennie has a good ear for dialogue, with much of it sounding convincingly conversational and at other times pleasingly poetic and lyrical. There are ambiguities throughout the text, and one senses each audience member might leave with different interpretations of what the play is truly about, which is of course, one of the many pleasures of seeing live theatre.
A smattering of humour counters the heavy subject matter to provide some light against the predominant shade. Nothing gets an audience on side quite like laughter, so it would perhaps be beneficial if more of this were incorporated, provided it serves narrative and does not detract from the weight or tone of the piece. There is also the potential for this to be quite harrowing in places with the medium of theatre and all it can do in terms of lighting and effects being fully utilised. It works, though, because we have a central character we can both believe and invest in.
Jay – performed here by Rowland Stirling – is well drawn and layered. The surviving child is ironically turned into somewhat of a ghost as his parents – and father Simon in particular – focus most of their energies on remembering Freddie and all the positive traits of his character. One imagines the actor would deliver a powerful turn in a fully realised production. It’s evident Rennie has worked hard in the creation of our protagonist, and it’s paid off; however, perhaps to the detriment of the remaining cast. While Jay’s father, Simon, provides the actor Philip Gill a fair amount to work with, it’s clear that more could be excavated from this complex man. It would also be interesting to get to know Jay’s mother, Veronica – performed here by Lauren Hendricks – a little more. Separated from her husband and obviously still grieving for her son, there is tremendous scope with this character.
The same goes for the others. Tonight, the actors showcase impressive skill in their line delivery and ability to multi-role, so it’s a shame their characters feel less dimensional than they deserve to be. That said, this is a work in progress, so these thoughts must be taken in that context.
Rennie has a strong premise and an assured, accessible yet thought-provoking writing style. Provided the various themes of the play feed into the narrative and propel things forward without meandering, he could very well have a unique and memorable play to offer. We look forward to seeing how Entwined develops and hopefully, our next write-up will be a review of the finished article.
By Jonathan Marshall
George Rennie presents:
ENTWINED (Rehearsed Reading)
A supernatural family drama about sleepwalking, spirits and sexual identity, loosely based on Jekyll and Hyde.
Written and performed by George Rennie
Directed by Lisa Millar
Omnibus Theatre
28 June 2025
Following an R&D and sharing with Omnibus Theatre’s Engine Room scheme in April, Entwined returned for a rehearsed reading of parts I and II of III.
A psychological, poetic, and ghostly reimagining of Jekyll and Hyde, the play follows Jay, an emotionally repressed straight man who is sent spiralling after the breakdown of his relationship with his girlfriend, Alex. In a moment of desperation, he turns to a therapeutic app which promises healing but instead leaves him haunted by the ghost of his gifted gay twin brother, Freddie, who died three years earlier.
As Freddie begins to take over his body, Jay loses control, kicking into gear a family reckoning where conflicting beliefs about what’s real come up against his need to reclaim his identity in the aftermath of grief, abandonment, and technological dependence.
Exploring emotional repression, queer embodiment and spiritual need, this contemporary ghost story asks what it means to live in the shadow of your better self, and how to be truly alive in the face of grief.
