The Retreat review

Theatre, Comedy
3 out of 5 stars
5 out of 5 stars
(2user reviews)
© CRAIG SUGDEN Samuel Anderson (Luke) and Adam Deacon (Tony)
© CRAIG SUGDEN Adam Deacon (Tony)
© CRAIG SUGDEN Adam Deacon (Tony), Samuel Anderson (Luke) and Yasmine Akram (Tara) 
© CRAIG SUGDEN  Adam Deacon (Tony), Yasmine Akram (Tara) and Samuel Anderson (Luke)
© CRAIG SUGDEN Samuel Anderson (Luke) and Adam Deacon (Tony)
© CRAIG SUGDEN Samuel Anderson (Luke) 
© CRAIG SUGDEN Samuel Anderson (Luke), Adam Deacon (Tony) and Yasmine Akram (Tara) 

A city boy tries to find spiritual redemption in this black comedy from ‘Peep Show’ writer Sam Bain, directed by Kathy Burke

There’s some major sitcom wattage behind this production at the Park Theatre. ‘The Retreat’ is directed by Kathy Burke, with a script by Sam Bain, who, along with Jesse Armstrong wrote laugh-fest TV series like ‘Fresh Meat’ and the BAFTA-winning ‘Peep Show’.

Trying to escape a failed marriage and career in the City, Luke (Samuel Anderson, aka Danny Pink in ‘Doctor Who’) has ended up seeking enlightenment at a Buddhist retreat in the Scottish Highlands. But it’s tough to transcend when your no-hope, drug-addict older brother turns up with a Toblerone, debts and a pocket full of coke. It’s basically the tale of Caned and Abel. 

This is Bain’s first theatre script and it has all of the hallmarks of the merciless, close-quarters character comedy his TV work thrives on. Jokes fly like machine-gun fire as an increasingly zen-free Luke and his brother, Tony (Adam Deacon), shoot holes in each other’s life choices. Little of the fad-filled selfishness of the rat-race of twenty-first-century Britain escapes.

There are some genuinely funny lines here. And Burke makes sure that those laughs aren’t too lazy. Every character on stage has their agenda, but, significantly, Luke’s need for something more than his previous life is allowed weight. It doesn’t subject Buddhism to easy mockery.

Burke’s direction keeps your sympathy alive. As Tara, who runs the Buddhist centre, Yasmine Akram does well to bring some sense of reality to a character who’s basically only there to propel Luke’s story. Anderson, meanwhile, stops Luke from simply being an irredeemably sanctimonious git.

But for every good joke that lands, others falter. The play throws a lot of mud at the wall and, maybe because of the lack of the kind of quick scene change you’d get on TV, not all of it sticks. The writing is never quite as consistently funny as you want it to be.

The play’s best asset is also what ultimately knocks it off kilter. As Tony, dripping with cynicism, outrage and money-grabbing neediness, Deacon is irresistibly awful. He’s magnetically funny and dominates the stage. But Bain never lets the wise-cracking drop for long enough to sharpen the play’s darker edges.  

By: Tom Wicker


Average User Rating

4.5 / 5

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This is laugh out loud hilarious!! There are some rude bits, but nothing to the level of a Book of Mormon or a Our Ladies of Perpetual Succour. The cast is amazing and all three of them really stand out. The subject matter is extremely relevant now as ever, and the lines seem so authentic you really can imagine that dialogue taking place right in your own home. I had the privilege of attending the Q&A with the cast and the writer (Sam Bain) and director (Kathy Burke) and the insight that they shared in terms of how they prepped and developed the piece just made the whole experience so much more meaningful. There is a lot of big life questions packed into this 90 minute straight-through-no-interval play, but the topics are dealt with in a very light-hearted fashion. Thoroughly enjoy it and recommend it. I won't be surprised if this gets a transfer to the west end!


I wanted to see this play mainly because I'm a big fan of its director, Kathy Burke, having seen her outrageously funny "Once A Catholic".  It was a very different production, more subtle in its outrageousness, with a script that twisted and turned in unexpected ways.  Tony, who we are led to believe misses his older sibling Luke, visits him at his retreat.  The play remains in Luke's simply furnished home in the Scottish Highlands, while we are led through the real reasons Tony has visited and the reasons Luke wanted to escape his former city life.  So easy to identify with the human frailties. It had the audience nodding along in recognition. Captivating stuff.