Review: Run Sister Run at Arcola Theatre
⭐⭐⭐⭐ (Four Stars)
Run Sister Run, written by Chloe Moss and directed by Marlie Haco, is a powerful and emotionally resonant play currently running at the Arcola Theatre. Told in reverse chronological order, the play unravels the complex bond between two sisters, Connie (Jo Herbert) and Ursula (Kelly Gough), spanning four decades of their lives. As we journey back through time, Moss’ intelligent structure offers a deepening understanding of how trauma, particularly from childhood and time in the care system, reverberates through an individual’s life.
The reverse timeline is handled with impressive clarity and creativity. Rather than feeling like a gimmick, the backward structure enhances the emotional stakes, revealing the roots of present-day dysfunction with poignant impact. Each transition between time periods is marked by interpretive movement sequences set to atmospheric music composed by Akos Lustyik and Alex Forey’s striking lighting design, making these transitions an inventive and effective storytelling device as well as a functional way of showing the passing of time between scenes.
At the heart of the play are the exceptional performances from the cast of four. Kelly Gough brings raw vulnerability and energy to the troubled Ursula, while Jo Herbert’s Connie is a study in unraveling: her subtly shifting accent a striking embodiment of her character's journey as we travel backwards through her life. The sisters’ chemistry is electric, anchoring the emotional core of the play. Theo Fraser Steele and Charlie Beaven round out the cast with nuanced performances as Connie’s husband, Adrian, and son, Jack, respectively.
A standout directorial choice is having Jack remain a silent presence at the back of the stage once the timeline reaches before his birth. This is a haunting reminder of how family histories shape even those not yet born. Tomas Palmer’s minimal yet effective set design with a face-level mirror, behind which characters stand when not directly involved in scenes so only their body can be seen and their presence remains felt, and the gradually building mess of shredded paper and flowers on stage, reinforces themes of chaos and revelations.
If there’s a critique, it’s the play’s relentless emotional intensity over its one-hour-forty-five-minute runtime without an interval. While the pacing of the play is strong, a pause might allow the audience to better process the difficult material. Please also keep in mind that Run Sister Run does not shy away from topics including self-harm, substance abuse, and domestic violence, so audiences should take note of the well-signposted content warnings.
Run Sister Run runs at Arcola Theatre until 26th July 2025.
Photos by Marc Brenner