Black Hole Sign – Tron Theatre

Beginning its development in 2021 by Traverse Theatre’s in-house playwright Uma Nada-Rajah, Black Hole Sign hits the stage this week at the Tron Theatre.  Over the course of a night in a collapsing (figuratively and literally) NHS ward, we gain insight into the series of events that led to the dismissal of Senior Charge Nurse Crea (Helen Logan) as she fails to meet her duty of care. 

Combining heavy emotional arcs with amusing and outlandish characters, Black Hole Sign captures the toil NHS staff and patients alike face due to overworking and underfunding.  Inspired by Nada-Rajah’s own experience working as a nurse, this play hits hard – the events that take place are harrowing and all too realistic.  The play unpacks a huge myriad of issues; we see the strain put on personal relationships between the staff as the pressures of the ward leave them short-fused and drained, the battle between morality and duty as nurse Ani (Dani Heron) is instructed to leave her patient (Beruce Khan) to die alone due to her services being so in demand.  Not only this, but when student nurse Lina (Betty Valencia) is thrown on to the ward with little to no supervision, we are left with a comedy of errors until things aren’t so funny anymore.

Nada-Rajah’s writing is so jam-packed with content, yet not overwhelmingly so – the sheer number of events that take place over the ninety minutes of this play perfectly encapsulate the non-stop, fast-paced chaos of the hospital that has the staff run off their feet.  From delirious old ladies escaping their room trying to find the disco, to patient Mr Turnbull (Martin Docherty) experiencing a ketamine-induced trip after Lina takes a wild guess at what pain relief to administer to him.

The set design by Anna Orton feels incredibly realistic – there is a great specificity here with a highly detailed arrangement including everything you might find on the hospital floor – from water coolers to biohazard waste bins.  Maximalist, yet cold and empty, Orton’s attention to detail allows for a space in which there is much to explore for both the audience and actors.  Not only is there this sense of realism that captures the barren feeling of a hospital, but also an imaginative touch that makes space for the otherworldly elements of the play, all framed by the signature blue curtains.

Complimenting the set design is Lizzie Powell’s lighting design, featuring a ghostly, sterile wash that casts looming shadows across the floor.  Powell’s design helps represent the “black hole” in the ward, projecting a swirling, menacing whirlpool on the centre of the ward as the hole in the roof gets bigger and bigger until eventually it caves in on itself – a simple, but strong metaphor for the state of the hospital’s internal system.  Contrasting these dark images, we receive bright, flashing neons as Mr Turnbull and Tertia (the delirious old lady aforementioned, played by Ann Louise Ross) boogie on down at their fever dream rave.

Gareth Nicholls directorial vision shines through these production design elements, with each aspect creating a merging of surreal delirium and starkness, developing an engaging, heartfelt, and desolate portrayal of Nada-Rajah’s writing.

Not only is the production side of Black Hole Sign immaculate, but the cast too deliver incredibly touching and amusing performances with a majority of the cast playing multiple characters, each perfectly distinguishable, well-rounded, and individual.  Each cast member tackles the complexities and conflicts of their characters with strength and sensitivity, oscillating between the burnt-out, emotionally unavailable, to the caring and deeply wounded.

Black Hole Sign is deeply moving – a real tear-jerker as I’m sure many in the audience have seen the implications of the underfunding of the NHS in their own lives.  The play manages to cover such a multitude of topics without brushing over them – each issue is given full dignity and attention.  This is a masterful piece of theatre, with each area of the production being expertly executed and performed, leaving us with a deep-seated empathy for those working within the National Health Service and calling those in power into action – how long can we keep going like this?

Reviewer: Jessie Martin

Reviewed: 23rd September 2025

North West End UK Rating: