Review: The Fastest Clock in the Universe

📍 Studio at New Wimbledon Theatre

🗓️ 8th May 2026

🎟️ PR Invite

Directed by Brittany Rex, this new adaptation of Philip Ridley’s The Fastest Clock in the Universe is currently running at the Studio at New Wimbledon Theatre. This Cellar Door Theatre Company production is full of drama, twists and turns, and builds to a dramatic conclusion.

Set in a flat in East London, the play centres around Cougar Glass as he prepares for his 19th birthday party… except it’s not his first time celebrating his 19th, with Captain Tock helping him prepare. We quickly learn that Cougar has invited one guest to the party — a 15-year-old boy he has met, towards whom his intentions are clearly inappropriate — leaving the Captain shocked and disgusted. Cougar then collapses into a frantic outburst, shouting and writhing on the floor, before landlord Cheetah Bee steps in to calm him down.

But when the birthday guest arrives — alongside an uninvited visitor and a shocking revelation — the evening quickly spirals out of control and builds to a dramatic ending. 

Initially, it took me a little while to get into the rhythm of the piece, but as it progressed things gradually fell into place as we came to understand more about Cougar and Captain Tock’s relationship, as well as their living situation.

The entire play is set within the apartment, making the set fairly static, but it works well in creating a realistic and claustrophobic setting. The apartment is filled with antique bird ornaments, and constant background birdsong and chirping creates an unsettling atmosphere. 

The lighting design also plays a big part in supporting the drama, subtly shifting as the tension in the apartment builds and adding to the growing sense of unease.

As the audience enters the theatre, Cougar Glass is already sitting at the kitchen table, with a UV lamp placed on the floor in front of him.

Immediately, it is clear that he is obsessed with his appearance, and as the play progresses that obsession becomes even more apparent.

Frederick Russell, as Cougar Glass, completely throws himself into the role. Vain and unimpressed by being told how he should or shouldn’t behave, Cougar has several incredibly intense moments throughout the play where he lashes out. 

The intensity with which these scenes are delivered is hugely impressive, and as more is revealed about the character and his intentions, there is a real sense of shock and discomfort throughout the audience.

In contrast, Brian Aris brings a much calmer presence to the play as Captain Tock. Constantly trying to steer Cougar in the right direction, he portrays the character as intensely devoted — always running to his aid whenever he calls. However, this quickly turns to disgust when he realises Cougar’s motive for the evening. 

Karen Holley’s Cheetah Bee is the voice of reason within the apartment, often stepping in to support the other characters when tensions begin to rise. As an older woman, she provides a stark contrast to Cougar and serves as a reminder to him that he is still young, calming him when tempers flare.

Kim Whatmore captures Foxtrot Darling’s innocence and naivety incredibly well. Looking up to Cougar and desperate to impress him, Foxtrot wants to be just like him, even copying his hairstyle — although it soon becomes clear he has secrets of his own.

The play takes a real dramatic turn in the second act, largely driven by Naomi Preston-Low as Sherbet Gravel. She delivers the role with a striking mix of emotions, keeping the audience constantly on edge as you never quite know which direction the character will go next.

As her reasons for being there become clearer, the drama really escalates, leaving the audience in complete shock. It’s loud, intense, and often uncomfortable to watch, ending in a sad and ultimately inevitable resolution.

There’s an overwhelming sense of discomfort watching the main character interact with a much younger boy, with that unsettling feeling running throughout the play. The ending is emotionally heavy, shocking, and incredibly realistic, and includes material that some audience members may find difficult to watch.

There’s plenty of humour threaded through the piece to balance out those hugely dramatic moments alongside some emotional moments where we learn more about the characters and their past.

As the cast took their bows, I was still processing what I’d seen. The play takes you through an unsettling emotional journey where you’re never quite sure who to side with. It’s fast-moving and intense, and lingers long after the lights go down.