Review: TETHERED, Rosemary Branch Theatre
Tethered explores the complexity of love with honesty and delicacy. Part of the Camden Fringe, and performed at the Rosemary Branch Theatre, it follows two women in a couple known only as ONE (Amelia Whitrod) and TWO (Lucinda Davidson) who are in a long-term relationship and genuinely in love. However, when the question of whether love can or should be limited to just one person enters the relationship, things begin to shift. What unfolds is a thoughtful, at times funny, and emotionally grounded exploration of queer love, polyamory, boundaries, and personal truth.
The two characters are well matched. ONE is a PhD student who likes logic but finds moments to get carried away just as much, and TWO is energetic, sociable, and more emotionally impulsive—a Leo, say no more. They are different in rhythm but connected in a way that’s both intimate and lively. Their witty banter and affection are instantly endearing, and their dynamic feels lived-in, like a sitcom couple you can’t help but root for. The emotional attachment forms early and holds.
The play’s inciting moment comes when TWO reveals she may be capable of loving more than one person. Together, the couple embark, albeit with some hesitation, on a consensual exploration of this possibility. The new addition becomes a man named David, met through a dating app. We never see David on stage; he exists only through the couple’s conversations, in moments before and after their individual encounters with him. His absence is a clever device, keeping the focus tightly on ONE and TWO, while allowing space for ambiguity, projection, and emotional tension. At the same time, it prompts a broader question: how does the presence of a third, particularly a man entering an established female-led relationship, complicate dynamics, power, and visibility? It’s not David’s story, but one wonders what a companion piece from that perspective might reveal.
What’s particularly refreshing is that no one here acts with ill intent or cruelty. The conflict doesn’t stem from betrayal but from people trying to be honest, to do the right thing, and to follow desires without hurting each other and inevitably getting it wrong along the way. It’s messy in a way that feels truthful.
The set is sparse, with a movable chest that serves as a surface to interact with, and minimal props that work well in the black box space. The focus remains on the storytelling and the subtle shifts in tone and emotion. The sound design, while repetitive at times, begins to find its power as it shifts from a millennial brunch aesthetic to something less certain and more emotionally charged. That underlying instability, a false sense of security in a long-term relationship, is subtly captured here.
Whitrod’s writing is contemporary and refreshingly grounded. The play doesn’t treat polyamory as a gimmick or dramatic twist, but explores it as a genuine dynamic, one with a long history and a growing presence in contemporary relationships. The conversations feel lived rather than theorised, and the humour is threaded through in a way that never undercuts the emotional weight.
Davidson and Whitrod both feel fully embodied as their characters and capture distinct arcs that remain tightly intertwined.
Director and dramaturg Megan Louise Wilson leans into the natural chemistry between the performers and makes full use of the space. The rhythm of the piece is well-paced, giving each beat time to land.
Tethered allows space for questioning: of what we’ve been taught about love, what we want from others, and what happens when desires start to diverge. This is Whitrod’s first play, and it’s a strong, confident debut—emotionally relevant, culturally current, and full of potential for further development. We’re excited to see where she goes next.
**** Four stars
Reviewed by: Stephanie Osztreicher