Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

In 2014 a short story anthology by author Dame Hilary Mantel was published. The title alone grabbed a great deal of headlines and caused quite the stir as it came just a year after Thatcher’s death. Now, the collection’s title story has been adapted for the stage by Alexandra Wood, and there may be no more fitting place for it to be performed than Liverpool, where Thatcher’s name still provokes strong emotions to this day.

Set in Windsor shortly after the Falklands War, the play introduces us to divorcee Caroline (Anita Reynolds), who is preparing a hot pot while patiently waiting for the repairman to arrive. When the buzzer finally sounds, she is greeted by Brendan (Robbie O’Neill), a surly-looking Scouser complete with a tool bag and, in Caroline’s view, an unacceptably scruffy coat. It quickly becomes apparent, however, that Brendan is not there to fix the radiators, and that the tools in his bag are intended to solve a very different kind of problem.

Caroline’s flat provides Brendan with the perfect vantage point overlooking the hospital where Prime Minister Margaret Thatcher is undergoing a medical procedure. As the would-be assassin waits for the signal to take his shot, the pair find themselves with time to spare, and begin to talk. Over the course of the afternoon, Caroline and Brendan gradually discover that they may have far more in common with one another than either initially imagined. Caroline hopes she can show Brendan a alternative path and maybe save one, possibly two lives this day or is the killer-in-waiting not for turning?

There is so much to admire and enjoy in Alexandra Wood’s adaptation. The script is laced with pitch-black humour from the moment Brendan sets foot in the flat; at times unsettling, yet packed with genuinely funny one-liners that heighten the tension. Alongside the humour, the play explores wider themes of isolation and shines a spotlight on a climate of political anger and social division that was just as prevalent in the 1980s as it is now.

Under the direction of John Young, the production benefits from two exceptional performances. Robbie O’Neill delivers a desperate yet restrained turn, filled with quiet menace and a wonderfully dry sense of humour, while Anita Reynolds provides the perfect counterbalance with a warm, compassionate, and deeply reasoned performance. Together, the pair complement each other superbly, creating a dynamic that feels both tense and surprisingly caring

They are further supported by Ceci Calf’s fabulous set design. Caroline’s flat is steeped in 1980s charm and nostalgia; modest and unflashy, yet clearly viewed with envy by Brendan. There is also an unmistakable sitcom quality to the setting, evoking the domestic comedies that were such a staple of British television in the decade. At the same time, the cramped interior creates an underlying sense of entrapment and claustrophobia.

This is a thought-provoking, layered, and at times shocking piece of theatre, shot through with a wonderfully droll sense of humour and anchored by superb performances. It is a production that will spark debate, challenge perceptions, and, rather sadly, remind audiences that the more things change, the more they stay the same.

The Assassination of Margaret Thatcher is on at Liverpool’s Everyman until Saturday 23rd May tickets are available here.