‘a bold, unsettling yet surprisingly comedic production that challenges audiences politically and emotionally’
The Assassination of Margaret Thatcher is a provocative and politically charged production that transforms a controversial premise into a gripping piece of theatre. Inspired by The Assassination of Margaret Thatcher by Hilary Mantel, Alexandra Wood’s dramatisation for stage explores themes of class resentment, political division, and personal morality. While the title immediately shocks, the production succeeds because it moves beyond sensationalism and instead creates a tense atmosphere that keeps the audience engaged throughout. Don’t be expecting a solely dark and serious night though, this piece has you laughing throughout with cleverly timed and written remarks, conversations, thoughts and one-liners, with the humour pleasantly surprising in what initially appeared to be a very serious evening. However, it does not detract from the play’s message and still shows what the consequences can be when a society or group feel they are going unheard and unseen, in a creative production from director John Young.
Ceci Calf’s staging is a very clever and multi-purpose design which is highly effective in transitioning scenes and creating atmosphere. Much of the performance is centred around a modest London flat, decorated to exude the 1980s decor. The confined space creates a sense of claustrophobia, particularly during moments of suspense. The adaptive set allows quick transitions between domestic scenes and moments of political tension. The staging captures the time and place but ensures that the audience focuses on the dialogue and emotional intensity rather than elaborate scenery.
At key moments, the stage opens up and through the use of projection, Thatcher herself appears, reminding the audience of the wider historical context as the play delves into a more surreal and abstract act. This projection helps bridge personal experiences of the characters with national events, reinforcing the play’s political themes and reminding the audience that this is a time in history, not just a play.
Kieran Lucas’ sound design plays a major role in building tension, with the production starting with its focus more on everyday traffic noise and the hustle and bustle outside to set the scene. During suspenseful scenes, the sound becomes more subtle but increasingly unsettling. The use of loud and sudden noises, gunshots, voices and silences create anticipation. In the climax, amplified screams, sirens and sharp sound effects heighten the tension, leaving the audience on edge. The final gunshot is particularly shocking due to its volume and suddenness, creating a dramatic impact.
Simisola Majekodunmi’s lighting design is used cleverly to reflect mood shifts throughout the performance. Warm lighting dominates scenes of domestic normality, making the flat feel realistic and familiar. However, as the production moves into different scenes, the lighting becomes more eerie in places and reflects the surreal happenings on stage. A large flashing white light is used to create a chaotic atmosphere and strike a sense of chaos. The harsh white lighting is used during politically charged speeches, creating an almost interrogative effect.
The characters are complex and morally ambiguous, which makes the production compelling. The protagonist Brendan (Robbie O’Neill) is portrayed as deeply conflicted—sympathetic in some moments but troubling in others. Their frustration reflects wider public anger during Thatcher’s leadership.
The character of Caroline (Anita Reynolds) provides a contrasting perspective. Sometimes providing a shared opinion with Brendan but then also opposing the moral impact of his decisions. At times, Caroline reflects a different opinion which reminds audiences of the wider impact across the country of Thatcher’s policies. This balance prevents the production from becoming one-sided and encourages the audience to think critically.
Calf’s costume design reinforces the 1980s period further with Thatcher’s tailored suits making her recognisable and reinforce her image of authority, whilst Brendan and Carolines characters wore more ordinary, working-class clothing such as worn coats, knitwear, floral blouses and practical shoes. This contrast visually reinforces class divisions central to the play’s message. Brendan’s costume is considerably darker and scruffier than Caroline’s, helping to emphasise the struggle and desperation of the character in contrast to Caroline’s more bright, carefree demeanour in general.
Overall, it is a bold, unsettling yet surprisingly comedic production that challenges audiences politically and emotionally. Through powerful performances, effective staging, atmospheric sound, striking lighting, and thoughtful costume design, the play delivers a memorable theatrical experience. It may divide opinion due to its subject matter, but that controversy is precisely what makes it such compelling theatre.
The Assassination of Margaret Thatcher plays at Everyman Theatre, Liverpool through to 23rd May 2026. Further details and booking https://everymanplayhouse.com/event/the-assassination-of-margaret-thatcher/
Review Date: 7th May 2026
Star Rating: FIVE