Review: Something Clean
- Lorna
- Mar 30
- 3 min read
Updated: Aug 8
📍 The Lion and Unicorn Theatre
🗓️ 29th March 2026 (Preview Performance)
🎟️ PR Invite
Written by Selina Fillinger, directed by Alex Stroming and produced by T. Regina Theatre Co, this 90-minute play follows Charlotte — a mother and wife - trying to come to terms with her son’s actions, which have led to his imprisonment.
The play opens with a short but effective scene that immediately sets the tone, capturing the tension and awkwardness between Charlotte (Katherine Oliver) and her husband Doug (Lawrence Carmichael). We are quickly introduced to Joey (Felipe Chavez) who runs a local sexual assault clinic, as Charlotte makes the unexpected decision to volunteer there. Joey instantly comes across as a warm, upbeat presence, eager both to involve Charlotte in the work and to get to know her. However, it is immediately clear that Charlotte is reluctant to engage or open up.
Charlotte and Joey’s relationship quickly becomes one of the strongest elements of the piece. There’s a real warmth to their dynamic, and it provides much of the humour while also allowing space for some of the play’s more honest and difficult conversations.
As Charlotte slowly begins to open up, the audience is offered deeper insight into Joey’s past, his motivations for helping others, and his relationship with his partner.
The play does not shy away from a difficult subject matter. It weaves in important discussions around sexual assault — sharing statistics, exploring its lasting impact on survivors, and addressing the complexities of intimacy after trauma. It also touches on victim blaming and race, and how these can influence both perception and decision-making.
These conversations serve not only Charlotte’s journey, but also challenge and engage the audience.
The three-person cast handle all of this with sensitivity. Katherine Oliver gives a strong performance as Charlotte, fully capturing her confusion, guilt and need to understand what’s happened. Her journey feels layered — whether she’s visiting the site of the assault, trying to take responsibility, or attempting to hold everything together while keeping her identity hidden.
Lawrence Carmichael’s Doug goes through a more subtle but equally affecting transformation. Initially defensive, he attributes his son’s behaviour to stress and tries to maintain a sense of normality.
However, as the truth unfolds and the strain on the marriage intensifies, Carmichael shows a softer, more vulnerable side that leads to some lovely moments between them.
Felipe Chavez stands out as Joey, with the most noticeable emotional journey. What begins as a lighter, easy-going presence gradually reveals something far more complex. His vulnerability builds throughout, and when he opens up about his own experience with sexual assault, it becomes an incredibly emotional moment.
Another standout moment comes later in the piece, when Joey arrives at Charlotte’s house looking for comfort. Doug is immediately suspicious and demands to know how they know each other, pushing Joey into a panic attack — a moment performed with such realness.
The set is minimal, relying primarily on tables and chairs, but it is used effectively within the intimate space and adapts smoothly across scenes. Scene transitions are handled efficiently, maintaining the play’s momentum throughout. There are a few moments that feel less essential to the overall narrative, though as this was a preview performance, these could well be refined.
Overall, it’s a thoughtful and engaging production that handles a difficult subject with care. It mixes humour with some really heavy themes, while still giving an honest look at the impact of sexual assault — not just on survivors, but also on the lives of those around them. The production also raises awareness for The Survivor’s Trust, reinforcing the importance of the conversations it’s trying to spark.
