Josh Maughan

There are several different successful shows embedded within this one structure. Not every strand lands with equal power, but together they form a fascinatingly complex portrait of ambition and the hidden costs of chasing a dream in an industry that proclaims inclusivity while quietly reinforcing bias.

Outside of Lincoln’s more reflective and confrontational scenes, Land of the Free becomes somewhat frustrating. If the intention is to draw parallels between history and the present, it often feels too heavy-handed, with moments that border on a lecture as the ensemble directly explains events to the audience. If the goal is to explore the psyche of those who fuel political unrest, it falls short, as the characters remain underdeveloped and one-dimensional. It feels like the show is trying to do too much at once. While there are some exceptionally clever devices throughout – Julius Caesar comparisons, the use of placards to contextualise – by the second act, they start to feel overused and lose their impact.

When I walked out of When It Happens to You, all I wanted to do was hug my sisters. Part of me had forgotten I had seen a show, the other part couldn’t stop thinking about the last twenty minutes of it. That’s the sign of good theatre. Theatre that lights a fire underneath you, theatre that gets inside your head – such a reaction can only come from something truly impactful.