“El Tel uprooted a bollard.”
Richie.

This is Richie’s monologue. It is his story as to how he has ended up in a police cell under arrest. Despite train cancellations, Richie has managed to get on a train to Leeds with his mates El Tel and Mickey to go to a football match. It is a special reunion for Richie and Mickey who went to school together. Mickey has done really well at school and gone to Imperial College London to study science. Richie hasn’t. Mickey is planning to work as a science teacher in the back of beyond in Rutland, has met Iona and is losing contact with Richie. Richie thinks this may well be the last time he will meet up with Mickey so it is important to him.
Richie is a skilled raconteur, talking nineteen to the dozen, he relates adventures on the train starting with them claiming their reserved seats from “toady face” the man occupying one of them, who refuses to move. Eventually 6ft 5 El Tel lifts “toady face” and deposits him on the platform at King’s Cross and gets back on the train just as the doors shut. What happens next will make you laugh but I’m not spoiling it.
Despite all his talk about football violence and the reputation of the Leeds supporters in action against opposition fans, Richie is likable and aware of any risks they might be taking. Mickey has brought a knife with him and Richie tries to throw it away, knowing the likelihood of their being searched in Leeds. But this knife belongs to Mickey’s mother, a fruit knife wedding present and Mickey wants to keep it. It is indicative of their diverging social experiences how less aware Mickey is than Richie.
I was very entertained by Gwithian Evans’ masterly command of Richie’s storyline and thought how well this play would be received at school by boys who might not think theatre was for them. Gwithian’s acting is a tour de force.


I found it much more difficult to warm to Geebs Marie Williams’ confrontational delivery of the story of a chambermaid in an hotel who has stabbed a hotel guest who accused her of stealing a valuable watch and called her, “a lying, little, thieving bitch”. Ladykiller was originally one of six 15 minutes playlets featuring different women telling their story and it does feel over stretched now running at nearly an hour. The approach is very different from Misconduct because the actor is close enough to point at us and fix us while staring intently. She is also covered in blood from the very beginning having just committed the murder.
The monologue switches as she claims that she is the victim as opposed to the murdered woman who acted in an entitled way. She has a long history of abuse and low paid work, bad experiences at school but much of the text is repetitive. It is a high energy performance but the words are really not good enough and the forceful acting feels wasted.
Much of the time we feel we are listening to someone who is truly deranged, a psychopath. She fantasises about being present at an autopsy and getting away with murder. “I’ve been to a talk on serial killers, so I know!” she says. Both play sets use a serrated wooden board, a white one for Misconduct and blood red for Ladykiller.
Geena Marie Williams must be very fit as for several minutes towards the end she talks whilst performing jumping jacks without getting out of breath. Sorry Ladykiller was not one for me.

Misconduct
Written by Dom Riley
Ladykiller
Written by Madeline Gould
Gwithian Evans
Geebs Marie Williams
Director: Claire Evans
Designer: David Fitzhugh
Lighting Direction/Technical DSM: Marta Fossati
Sound Design: Jan Giedroyc
Running Time: Two hours including an interval
Booking to 2nd May 2026
Theatre:
The White Bear Theatre
The White Bear Pub
138 Kennington Park Road
Kennington
London SE11 4DJ
Website: www.whitebeartheatre.co.uk
Tube: Kennington
Reviewed by Lizzie Loveridge
at the White Bear
on 24th April 2026