Review: IRON at Stagecraft Theatre

Iron is raw, stark and compelling

Iron is a play written by Scottish playwright Rona Munro, first performed in 2002 at the Traverse Theatre in Edinburgh and later transferred to The Royal Court Theatre in London in 2003. It received critical acclaim and won the John Whiting Award. The story is set in a women’s prison and follows Fay, a woman serving a life sentence for murdering her husband, and her daughter Josie, who visits her for the first time after fifteen years. Josie, raised by her paternal grandmother and with no memory of her father or the crime, seeks answers about her past. Through a series of prison visits, the two women attempt to reconnect and confront the truth. Fay is emotionally hardened by years of incarceration, while Josie is determined to uncover the reality of her childhood and the murder. Their interactions are tense and emotionally complex, revealing uncomfortable truths that challenge their perceptions of themselves and each other. The play explores themes of memory, identity, forgiveness, emotional isolation, and the psychological impact of imprisonment.

Stagecraft’s production of Iron is a masterclass in minimalist theatre.The set design by Neil Wallace is strikingly bare—just three chairs, a table, and a bed. This simplicity draws focus to the emotional weight of the story and the performances. Jamie Byas’s lighting design complements this starkness, shifting subtly with the actors’ movements and moods, never distracting from the drama.

The acting is exceptional. Karen Anslow (Fay) and Ivana Palezevic (Josie) deliver powerhouse performances, navigating a demanding script with remarkable nuance. Their portrayal of a fractured mother-daughter relationship is both tender and devastating, capturing moments of vulnerability, rage, and longing with heartbreaking authenticity.

James Bayliss (Guard 1 – George) and Helen Mackenzie Hughes (Guard 2 – Sheila) provide a steady presence throughout, overseeing the tense visits between Fay and Josie. Bayliss’s delivery of a misogynistic monologue was particularly impactful, eliciting audible reactions from the audience. While Hughes was solid, a slightly more menacing edge to her character could have added further tension.

Rosie Glover’s costuming is appropriately understated, with only one costume change throughout. This choice reinforces the realism of the prison setting and keeps the focus on the characters’ emotional journeys.

Director Campbell Wright’s vision shines in several standout moments. One particularly effective scene begins with Fay in her cell and Josie outside, symbolizing their mental escape, before transitioning to the table and chairs—grounding them back in reality. Another memorable moment is the sudden, well-choreographed burst of violence (by James Kisesel), which jolts the audience and underscores the play’s emotional volatility.

Iron is not a light-hearted experience—it’s raw and deeply human. Despite its length and focus on just two central characters, the production is so well-paced and emotionally engaging that time seems to slip by.

It’s disappointing that this show didn’t open to a full house—it truly deserves one. Please make time to see it and support this outstanding production. Stagecraft continues to deliver high-quality theatre, and Iron is yet another testament to their excellence.