Review: KING OF PANGEA, King’s Head Theatre

Content Warning: This review references grief, loss, mourning

King of Pangea at the King’s Head Theatre, London is a striking and inventive one-act 90-minute play, which blends the personal experience of grief with surreal world-building. The book, music and lyrics are by Martin Storrow, whose informed experience has woven the musical numbers with the unfolding action.

Boldly staged and ambitiously produced by Nicole LaFountaine, Jaime Bartolett, Lucas Katler and Jerry Mitchell, the play challenges the outdated view of ‘keeping up appearances’ during cancer treatment and takes an important look at the trauma caused by any lack of truth telling, particularly regarding the disservice to children with parental terminal illness, in the name of ‘protecting them’.

The small cast deliver impressively nuanced performances, with an excellent lead Alfie Blackwell as Sam, bringing a compelling mix of vulnerability and conviction to the role. Sam unpacks the trauma of loss and his development of obsessive-compulsive disorder, whilst painfully but courageously reliving triggering elements. The direction by Richard Israel is sensitive to the emotional subject matter, enhancing the action by distinguishing the imaginary world of Pangea as an area of healing.

Dan Burton is compelling as Arthur Crow, with wonderful charisma, stunning song delivery and an enthusiast command of his Captain of the ship role. Mark Curry brings effortless charm and comedy to the role of Elijah, with dynamic energy and vibrant personality. Sophia Ragavelas sensitively plays the role of Celia Crow with affection and warmth. Emily Tang’s small role as Amy and Maya is strong and splendid, a real talent deserving of a larger presence. Young Sam is played by Daniel Lee and Tayt Joshua Silvester-Stoller, bringing a heartfelt element to the sadness of what is to come to be, for Sam’s future.

The set by Carly Brownbridge is beautiful, revealing a richly green living wall, with clever use of the space, transforming the stage into a symbolic and shifting landscape which mirrors the play’s themes of combatting detachment and loss.

The musical numbers are strong and catchy, standout songs were "Stick to the Curriculum" and "Everyone I Love Is Dead" encouraging much needed dark humour in the sorrow. The writing is poetic, but herein lies the issue, the script goes overboard by spelling out every intention, leaving little room for the audience to interpret the message for themselves, or fully identify with Sam’s journey via his specific personal experience.

The mission once Pangea is reached feels rushed and underexplored. The message of hope is sporadic and underdeveloped. With such potential of the ‘place of wonder’ and an acknowledgement of allowing life to get ‘messy’, the missing puzzle piece still feels unresolved.

However, the incredibly strong cast relish the creative piece of theatre and are winningly captivating. The King of Pangea unpacks Sam’s experience of grief and trauma in an imaginary world in an honourable tribute to those living with heavy grief.

King of Pangea runs at the King’s Head Theatre until 6 July

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