Review: ARMOUR, Hen & Chickens Theatre

Photo credit: Supplied by the production

There are a few charming moments scattered throughout this two-hander, but they’re regrettably far and few between in a production that ultimately struggles to find clarity, connection, or consistency. The play centres on a therapy consultation that begins awkwardly, seemingly intentionally, but never quite evolves beyond that initial discomfort.

Saar Zutshi does his best to carry the piece, bringing some warmth and energy where he can, but the dynamic suffers from a lack of reciprocity. Catherine Mobley, as the therapist, is difficult to engage with as she's not off book and there is no explanation as to why. The performance feels under-rehearsed and disconnected, with little variation in tone or emotional depth. In such an intimate setting, especially with a character meant to provide stability and safety, that lack of grounding becomes particularly noticeable. Lines are delivered without emphasis, eye contact is minimal, and the relationship between the two never fully lands.

The direction doesn’t do much to support the material either. The use of space feels under explored, and long blackouts between scenes, often just to indicate a shift in time or costume, slow the pacing unnecessarily. With a clearer sense of staging and sharper transitions, the piece could move with much more purpose.

The writing itself raises bigger issues. If the intention is to present therapy in a realistic or informed way, it falls short. The therapist’s handling of key moments, such as a panic attack, feels uninformed and lacking in basic psychological understanding. As a result, the central character comes across as unsupported and unguided, making it hard to find the progression or outcome of the therapy. Bringing in a mental health professional during development would be an important next step.

There are also structural choices that don’t quite land, particularly the use of the fourth wall which feels unclear in intention; we’re never quite sure who we are to the character when he confides in us, especially as the therapist exists in the same space. A clearer distinction here could have added variety in pace and perspective, which the play currently lacks.

Themes like body image and bullying are touched on but remain surface-level, never fully explored or given the weight they deserve. As it stands, the piece feels static, occasionally lifted by light humour, but largely one-note.

There’s the outline of something meaningful here, but it needs significant tightening, in performance, direction, and writing, to build trust with its audience and fully realise its potential.

** Two stars

Reviewed by: Beatriz Ferreira

Armour will next play at London’s Old Red Lion Theatre on 29 & 30 May, with further info here.