Play Dead – The Horse Hospital

As the trend for celebrity performers and popular stories continues to dominate the West End, it becomes increasingly important to support and highlight new writing and underground talent. Last week, Nadine Rennie, co-chair of the Casting Directors Guild warned that this commercially driven, fever for the famous is like, “feeding a child too much sugar.”

As the trend towards box office safe bets shows no sign of retreating, it was a bracing thrill to experience Play Dead by Bailey Edwards at The Horse Hospital. This wasn’t a spoonful of crowd-pleasing sugar. It more like a judicious jab of crystal meth, followed by a slap.

Play Dead is a unique, queer, grimly comic modern myth about obsession, addiction, co-dependence and the fragile nature of sanity. It features the author, Edwards and Simone Sklan in the cast. This is Edwards first play, and it was developed and then directed with regular collaborator Mia Hull. Earlier this year, the show was workshopped at Theatre Deli before its first public outing at the Rosemary Branch in May.

Play Dead is produced by Betyl Theatre, a bijou company that makes theatre that hopes to explore the tension between the ‘classical and the mundane’ and drop the audience into the middle of the drama. They have a fondness for site specific work and odd venues. The company has produced shows in barns, former frat houses, al fresco showers—and on this occasion, a veterinary canine crate, in what used to be an equine clinic.

Edwards plays Echo, who is struggling with the end of a relationship. We learn about their union via a very entertaining monologue, which is chatty and charming enough to win over the audience. Even when it becomes clear that in a fit of vengeful grief, he has kidnapped a dog (called Scotland) belonging to his ex-partner. It’s hard not to sympathise. We’ve all been unhinged by a torrid break-up and Echo is so eloquent and engaging that the cruel nature of his crime becomes almost irrelevant. As we find out later, that’s the power of self-serving manipulation. It’s a credit to Edwards writing and performance that this narcissistic hoodwinking, via heavily edited highlights is very effective.

Occasionally, Edward breaks the fourth wall and interacts with people on the front row. He was fearless and funny in these exchanges, which delivered an unscripted frisson, but also helped win the audience’s affections. It’s a very smart script, which references pop culture, wellness trends and Greek classics courtesy of Ovid’s Metamorphoses. Halfway through, Simone Sklan suddenly emerges to play his wily, careworn sister. This has to be one the most unexpected and shocking stage entrance in the history of theatre. To say any more would ruin it.

Echo’s sister challenges his perspective, memory and actions, which is the first clue that our narrator mayt not be entirely reliable. Though we are never given a clear idea of what the entire truth might be, by the play’s conclusion, our first impressions of this character are shelved as the chatty comedy gives way darkness, horror and a descent into madness.

Play Dead is a challenge to review without giving spoilers, but it’s safe to reval that this play is inventively staged, thoroughly gripping, slightly avant garde and performed with impressive conviction. It delivered a truly haunting and exciting hour of theatre.

Play Dead was at The Horse Hospital for one night but will be at Playhouse East from 4^th – 8^th November.

Playhouse East

Reviewer: Stewart Who?

Reviewed: 28th October 2025
North West End UK Rating: