Review: Tabula Rasa

📍 Lion and Unicorn Theatre

🗓️ 11th June 2026

🎟️ PR Invite

Written by Ella Brock and presented by Blank Slate Theatre Company, Tabula Rasa is a 60-minute psychological comedy-thriller.

When four complete strangers wake up in an almost empty room - containing just one table and four chairs - with no idea how they got there, they must find a way to escape and return to their lives. But with every attempt to leave met with failure, can they ever get back to normal?

The concept of this play intrigued me, so 1 was interested to see how it would unfold. Walking into the theatre, I immediately noticed the "room" they would be trapped in, marked out on the floor with nothing more than a table and four chairs. As the lights drop, a voice sets the scene, explaining that this is an opportunity for the characters to better themselves and start anew.

As the four strangers wake up with no recollection of how they got there - or who they're trapped with - they naturally fall into chaos and panic, launching the play with a bang. As they attempt to leave the room, they are met with gunfire or electric shocks, quickly realising that they may be trapped with no obvious way out.

Each character's personality comes through almost immediately as they react to their predicament.

From Liam Hurley's hilariously laid-back Jamie to Oliver Manley's calm and level-headed Harry, the contrasting personalities create plenty of humour while also adding to the tension. Meanwhile, Ella Brock's Olivia and Mai Worth's Charlotte are initially the most panicked, although each responds in very different ways.

The plot itself is engaging, with plenty of humour threaded throughout that balances the darker psychological themes well. The script gives each character a distinct personality, and the small snapshots into their lives before entering the room help you understand who they are beyond the immediate situation.

However, while the story keeps you invested throughout, there are moments where the pacing dips slightly, particularly in the middle of the play. Although the tension remains consistent, some sections feel like they could be tightened to make the progression of the story feel more purposeful and maintain the momentum established at the beginning.

The staging is deliberately simple, the characters have nothing, and the minimalist set reinforces their isolation, with only brief glimpses of the outside world as cans of tuna are delivered to sustain them.

The lighting is one of the stronger technical elements, with blackouts used effectively and subtle changes reflecting the shifting emotions of the group. This is complemented by the sound design, which helps convey the passing of time throughout the play with a clock ticking between scenes.

A montage of the characters repeatedly trying to escape is particularly enjoyable, elevated by the combination of lighting, movement and sound. The movement throughout the show is consistently effective, with the actors using the confined space well and creating smooth transitions throughout.

Each member of the cast throws themselves into the performance with infectious energy, bringing their characters to life and capturing the emotional rollercoaster of the situation.

Oliver Manley's Harry appears to be the calmest member of the group, approaching the increasingly bizarre situation with logic and compassion.

Although clearly shaken by where he is and how he got there, he becomes a reassuring presence for the others. Manley handles this well, bringing a sense of warmth and stability to the role while allowing moments of vulnerability to show through.

Liam Hurley provides much of the play's humour as Jamie, whose laid-back attitude and bizarre suggestions frequently leave the others bewildered.

While everyone else searches for logical explanations, Jamie casually suggests aliens or zombies could be responsible. Hurley's comic timing makes these moments entertaining, while still fitting within the wider tension of the play.

Ella Brock's Olivia and Mai Worth's Charlotte are initially the most

visibly distressed by their

situation, but as the story unfolds, their different personalities begin to emerge.

Charlotte, the squeamish member of the group, immediately panics. However, as the play progresses, she gradually settles and begins to trust those around her. Worth captures Charlotte's emotional journey well, and her growing confidence helps show the character's development.

Olivia, meanwhile, channels her fear into anger.

Defensive, hostile and unwilling to trust anyone around her, she keeps the others at arm's length for much of the play. Brock portrays this convincingly, capturing both Olivia's aggression and the vulnerability that lies beneath it.

Watching these four strangers evolve from suspicious individuals into a group that begins to build a sense of camaraderie is one of the production's most successful elements. Whether recreating scenes from famous films - I particularly enjoyed their take on Jurassic Park - playing games or breaking into dance routines, the cast

convincingly captures the shift from fear and distrust to friendship. The chemistry between the cast is clear, helping make their relationships believable.

Overall, I really enjoyed Tabula Rasa. It has a strong concept, engaging performances and some really effective technical elements, with plenty of humour woven throughout to balance the darker themes.

As a new piece of writing, I don't think it quite reaches its full potential yet. While the mystery and tension are maintained throughout, there are moments where the pacing dips slightly, and a little more tightening would help the story flow more effectively. I also appreciated the intention behind the ending - it certainly delivers a shock - but it arrives a little too abruptly to have the full impact the story has been working towards. With some further refinement, Tabula Rasa has the potential to become something really special.

A clever, funny and engaging new play with a bright future ahead of it.