Review: Apex Predator at Hampstead Theatre
⭐⭐⭐ (Three Stars)
Apex Predator at Hampstead Theatre, directed by Blanche McIntyre, navigates the intense and unsettling terrain of post-partum psychosis with a raw, disturbing energy. Written by John Donnelly, the play delves into the fractured psyche of Mia (Sophie Melville), a mother struggling to maintain control as her mental state deteriorates. The production teeters between psychological horror and comedy, leaving the audience gripped by its tension, but also occasionally disoriented by its inconsistent writing.
The central performance from Sophie Melville as Mia is fantastic. She beautifully portrays a woman unraveling at the seams, oscillating between fragile vulnerability and the disturbing chaos of her psychosis. Melville’s performance is a masterclass in emotional range, keeping the audience constantly guessing about the nature of the events unfolding: are they actually happening, or are they mere projections of Mia’s crumbling mind? It's a testament to Melville’s talent that the line between reality and delusion is so razor-thin, you can't help but feel as disoriented as her character.
Laura Whitmore as Ana, the teacher who becomes Mia’s unsettling fixation, balances charm with menace. Leander Deeny also deserves special mention for his impressive versatility in playing multiple roles, each with distinct personalities. His portrayal of a wealthy investor is particularly engaging.
The set design by Tom Piper is highly effective in establishing the domestic setting, with the kitchen where much of the play takes place feeling lived-in and authentic. The design is versatile enough to shift into other locations, such as a park or a luxury penthouse, with minimal adjustments and creative use of lighting (by Jack Knowles). The lighting design choice to plunge the stage into darkness so characters can appear and disappear heightens the atmosphere of disorientation really effectively.
However, not all technical elements are as successful. Scene changes, often marked by sudden darkness, can occasionally be jarring, at times detracting from the flow of the narrative. While these moments can be effective in building tension, there are instances when the abrupt transitions feel forced and disrupt the immersion. Additionally, some scenes would benefit from musical underscoring to mask the distracting sounds of set changes taking place behind the screen on stage, which, at times, break the tension the play otherwise builds.
The writing, while strong in moments of dark humour and chilling suspense, does falter at times. At its best, Donnelly’s script skillfully balances tension and humour, providing sharp, relatable commentary. Yet, there are also stretches where the dialogue feels stilted, undermining the emotional resonance that the earlier scenes so effectively establish.
Ultimately, Apex Predator is an ambitious, thought-provoking piece of theatre that excels in its performances and atmosphere but is somewhat hindered by its uneven writing.
Apex Predator runs at Hampstead Theatre until 26th April 2025.
Photos by Ellie Kurttz