Review: SPITFIRE GIRLS, Arts Theatre Cambridge - Tour
Photo credit: Mark Senior
Written by Katherine Senior, who also stars as Bett, Spitfire Girls transports us to the closing stages of the Second World War—a time when female pioneers defied expectations and contributed across both the front lines and the home front.
The play pays homage to the women of the ATA (Air Transport Auxiliary), who ferried aircraft between airbases across the UK, flying everything from Tiger Moths to Spitfires.
At its heart, the story focuses on Bett (Katherine Senior) and her younger sister Dotty (Hannah Morrison), exploring the tension between duty and protection within a large wartime family. With so many siblings affected by the war, the narrative examines how one sister strives to keep the other safe while both attempting to serve their country.
The story opens on New Year’s Eve, 1960, with Bett preparing her pub for the evening’s celebrations. After dismissing the bumbling Frank and sending him away, another knock at the door introduces Dotty. From there, we are transported back to 1943, where the majority of Act One unfolds.
The first act unfolds at a steady pace, featuring some effective physical theatre—particularly in scenes depicting Dotty flying—and establishing the sisters’ dynamic. We are introduced to key supporting characters, including their father (Jack Hulland) who tries to prevent them from joining the ATA; Dotty’s love interest, fighter pilot Tom (Paul Brown), who also doubles as Jimmy, the ATA camp’s pub landlord.
Kirsty Cox delivers the most convincing and well-rounded supporting performance, portraying both the girls’ commanding officer and fellow pilot, Joy. She brings depth and authority to her roles, enriching our understanding of how the sisters respond to leadership and pressure.
However, the true standout is Hannah Morrison as Dotty. As the younger sister, she brings a sense of playfulness that contrasts effectively with Bett’s more rigid and protective nature. Through Dotty, we experience the uncertainty of wartime life—particularly the fear that, once the war ends, women may lose their newfound independence and sense of purpose.
Morrison is especially powerful at the end of Act One, when she receives devastating news. Her portrayal of collapse and hopelessness is raw, emotional, and entirely compelling.
While her chemistry with Senior is solid, the full depth of the sisterly bond never quite materialises, despite Senior’s clear efforts to convey Bett’s overprotectiveness. That said, there is a genuinely touching moment between them near the end of Act Two, which feels like the most authentic expression of their relationship.
Without revealing too much, the play falters in its second half. The narrative loses momentum, and a key twist feels predictable. More significantly, character development stalls, failing to progress meaningfully beyond what is established in Act One.
The set design is dark and minimal, with heavy use of black and smoke, effectively evoking the wartime atmosphere. A simple arrangement of tables—one dressed with props and another serving as a bar—provides a versatile and functional staging that supports the piece’s ambience.
Sound design by Eamonn O’Dwyer and Joseph Harris enhances the production with subtle atmospheric effects, including low rumbles of weather and aircraft, without overwhelming the performance with excessive war noise.
There are some lovely parts to the piece that really highlight the togetherness and bonds that were present during the war and the strength displayed by people who often go unsung. Spitfire Girls is touring the UK now, Besties!
*** Three stars
Reviewed by: Emma Littler
