Collapse – Riverside Studios

Allison Moore’s ‘Collapse’ takes a familiar domestic setup and detonates it in spectacularly funny fashion. Hannah’s carefully maintained and tightly controlled life, already visibly fraying under the strain of infertility, financial uncertainty, threat of unemployment, and a husband adrift, tips into complete chaos when her rebellious (and hilariously funny) sister arrives with a mysterious package she has agreed to deliver to a guy called “Bulldog”. What follows is a darkly comic unravelling where love, fear, and survival collide.

Emma Haines delivers a commanding central turn as Hannah, balancing brittle control with flashes of honest vulnerability. She moves seamlessly between sharp, fast-paced exchanges with her co-performers, and quieter solitary moments that land with unexpected poignancy. Keenan Heinzelmann offers a measured counterweight as her faltering husband, although in all honesty his performance feels a little too restrained. In moments that call for a greater sense of urgency or emotional volatility, he is a little wooden, which slightly dampens the tension in key scenes, and left the character feeling underpowered compared to the rest of the ensemble.

In contract, the amazing Bonnie Langthorn injects the production with a mischievous, volatile energy, magnetic from the moment she steps on stage, and radiating a restless energy that instantly shifts the atmosphere. Her timing is razor-sharp, landing punchlines with precision whilst also revealing flickers of vulnerability beneath the bravado. She has an ease and confidence in her stage presence that commands attention, often pulling the focus even in crowded, fast-moving scenes. There is a true star quality to her presence, the kind that makes you lean forward because you do not want to miss what she will do next!

Paul Mclaughlin rounds out the quartet, and although he brings some physical presence to the stage, his performance is hampered by an inconsistent American accent that slips frequently enough to distract entirely from what is happening on stage, making it harder for the audience to fully invest in his story. Whilst his role offers opportunities for sharp comedic interplay, his timing often feels slightly off, and he seems to just let the opportunity for laughs pass him by. This combination of the wavering accent and uneven comic delivery leaves his character feeling less defined than the others, which weakens the ensemble’s overall exchanges.

Moore’s script refuses to treat comedy and tragedy as separate entities. Jokes sprout up organically from moments of deep discomfort, making the absurd feel utterly credible. The dialogue crackles, the humour biting without cruelty, and the emotional undercurrents are never far from the surface.

Lloyd Smith’s direction keeps the momentum relentless without sacrificing clarity, managing to ensure the scene transitions flow effortlessly. The pacing mirrors the characters’ spiralling desperation, yet space is left for moments of stillness that give the comedy its emotional edge. That said, as a finished production, there has not been much effort or money put into staging, and the River Room venue unfortunately doesn’t do Moore’s script adequate justice.

Though not every character is fully realised, the committed performances keep the tension alive, and ‘Collapse’ deftly balances humour and heart, showing that even in life’s wreckage there is room for laughter and the courage to move forward.

‘Collapse’ continues its run at Riverside Studios until Sunday, 31^st August, and tickets are available at https://riversidestudios.co.uk/see-and-do/

Reviewer: Alan Stuart Malin

Reviewed: 13^th August 2025

North West End UK Rating: