Review: THE HOUSEWARMING at Goodwood Theatre

Reviewed by Barry Lenny, Saturday 25th April 2026.

Written and directed by award-winning James Watson, his company, Famous Last Words, is presenting The Housewarming, in which a young couple, Phoebe and Nick, played by Virginia Blackwell and Daniel Fryar-Calabro, invite two of her long-time friends to celebrate moving into their first home. Nick is an accountant, from a wealthy family, and his parents have helped them to buy this house. Phoebe, who is an Internet influencer, has prepared a platter of expensive cheeses, and there is plenty of Lobethal Road wine and a bottle of Glenfiddich on hand. Nick has arranged a family luncheon for the next day, at which he plans to propose marriage.

Phoebe’s friends, Steph and Michael, played by Emelia Williams and Chris Gun, are renting, and sharing with somebody called Dan. Their lease is about to expire, and the only bright spot is that they will no longer have the unpleasant Dan cohabiting. The differences in their financial circumstances, social standings, and housing situations are an immediate cause for conflict, with Michael being particularly resentful that his “PhD in memes” led only to a dead end job. He arrives with a bag of cans of his favourite craft beer. Once having been close fiends, since early childhood, Steph now wonders why Phoebe has made contact after years of silence, unless it is to rub her nose in the difference in their fortunes. There might be no lords and ladies, no royalty, but Australia is not a classless society. Class, here, is based in wealth and social standing.

Angst and anger are the bedrock of the evening and the next morning, as cracks appear and widen with every minute, old resentments and past events are surfacing, and secrets are revealed, all fuelled by excessive alcohol consumption.

Watson has cast his production well, and uses the advantage of also being the playwright to ensure that his script is interpreted as intended, making good use of extended dramatic pauses. Each of the performers creates a believable and coherent characterisation, and together they form a tight ensemble, enhancing one another’s performance through action and response. There is authenticity in their interactions with each of the others in this taut drama that creates considerable tension as the play unfolds.

The performance is made intimate by holding it on the stage of the theatre, with only two rows of seats on either side of the performing area. Composer and Sound Designer, Oscar Sarre, provides an interesting and effective background, and Lighting Designer, Steven Durey, adds atmosphere to each scene.

There is limited audience capacity for this fine production, and opening night was sold out, so don’t delay, book now.

Photography, Philippos Ziakas.