Tickets were gifted in return for an honest review.
There is an undeniable atmosphere to Martina Laird’s debut play, Driftwood. As you step into the intimate confines of The Other Place, the heat of colonial Trinidad feels practically tactile. Here in 1950s Trinidad, the air is thick with the scent of rum, the sound of cicadas, and the mounting tension of a nation on the brink of independence. However, while the setting is evocative and the stakes are high, the execution often feels like a collection of brilliant moments looking for a sturdier bridge to connect them.
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| Cat White as Ruby. Photo by Marc Brenner. |
The narrative centers on the fragile ecosystem of ALMA, a Port of Spain gentlemen’s club that serves as a sanctuary for some and a goldmine for others. The plot effectively mirrors the political upheaval of Trinidad’s move toward independence, personifying the struggle through the club's three stakeholders: the aging Englishman Mansion (Roger Ringrose), the steadfast and protective Pearl (Ellen Thomas), and her daughter Ruby (Cat White), whose youthful ambition threatens the establishment's delicate peace.
The arrival of Diamond (Martins Imhangbe), a rum courier with more than just cargo in his hands, shifts the play from a domestic drama into a high-stakes thriller. His appearance unearths buried familial secrets and introduces a dangerous alliance with a corrupt US Marine, Tom (Ziggy Heath). This external threat places ALMA in the crosshairs of a ruthless pursuit for wealth, forcing the characters into a desperate game where the price of a wrong move isn't just financial—it’s existential. While the noir elements of the plot provide plenty of tension, the narrative occasionally struggles to balance its dense family history with the broader political allegories. The plot is intriguing, but the pacing, particularly in the first act, stutters.
Sadeysa Greenaway-Bailey’s contribution as set and costume designer is instrumental in grounding the play's atmosphere. Her stage design is a triumph of simple but effective storytelling; by utilising the distinct silhouettes of French and British Colonial architecture, she recreates the fading beauty of Trinidad with striking precision. The design for the Alma gentlemen’s club serves as more than just a backdrop; it is a visual metaphor for the crumbling colonial era, providing a hauntingly beautiful space where the family’s legacy and ambitions collide.
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| Roger Ringrose (Mansion), Cat White (Ruby), Ziggy Heath (Tom) and Martins Imhangbe (Diamond). Photo by Marc Brenner. |
What this production doesn't lack in are the compelling performances. Martins Imhangbe is a tormented Diamond with many layers. He comes into his own in the second act as the stakes continue to rise. Ziggy Heath changes the energy upon arrival as the corrupt US Naval Officer, Tom. Heath relishes the delivery of the text.
It's the two female performances that left the biggest impact here. Ellen Thomas is a masterclass in understated power. As Pearl, she embodies the weary resilience of a woman who has navigated the treacherous waters of colonial society for decades. Her presence is grounding; with a single look, she conveys a history of survival that the dialogue only hints at.
Cat White delivers a truly luminous performance as the beguiling Ruby, effortlessly stealing every scene she inhabits. She imbues the role with a shimmering, electric energy that is as dangerous as it is captivating. White is a revelation, masterfully capturing the frantic restlessness of a younger generation caught between tradition and a thirst for independence. She navigates the character’s complexities with breathtaking precision, at once heartbreakingly vulnerable and chillingly calculated.
Justin Audibert’s direction is intentionally bold, leaning into the play's operatic stakes by utilising a rich, melodic soundscape to amplify the script's most emotive monologues. Occasionally, the music clashes with emotive speeches. The stakes only continue to rise as the production develops, leading to a tense and edge-of-your-seat standoff.
Driftwood is a play of immense potential, and with further development, it will only continue to flourish. It tackles heavy themes of ownership: of land, of businesses, and of people, with a poetic flair. While the narrative gears sometimes grind when shifting between personal drama and political allegory, the powerhouse performances ensure that ALMA remains a destination well worth visiting.
A lush, atmospheric debut bolstered by magnetic performances, even if the plotting occasionally drifts off course.
Driftwood plays at The Other Place in Stratford-Upon-Avon until 30th May 2026. Tickets are available from https://www.rsc.org.uk/
The play transfers to The Kiln Theatre in London from 3rd June until 4th July 2026. Tickets are available from https://kilntheatre.com/
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| Martins Imhangbe (Diamond) and Ellen Thomas (Pearl). Photo by Marc Brenner. |
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