“There is something you need to know about Sebastian.”
Natalie, Sebastian’s sister
Paul Kalburgi’s fifth play for stage We’ll Always Have Paris is an inventive romantic comedy about a woman, whose fiancé has died from cancer, embarking on a new romance. Played by just three actors, Miranda Colmans leads as Ginny, someone who was bullied at school and who has to learn how to live on her own without a significant other. Eliza Williams plays Ginny’s sardonic mother Trish and every other woman in Ginny’s life. Cyril Blake has a gargantuan role as all the men in Ginny’s life including her dead fiancé Jerry, her co-worker at IKEA and her online boyfriend Sébastien. The play’s title comes from a wonderful time Ginny spent in Paris when Jerry proposed to her on a bridge over the Seine. You can identify Jerry from his ET T-shirt.
There is some really interesting writing here – the amputation metaphor for grief is one which hits home. There is amusement too as Ginny calls out a ridiculous friend holding a gender reveal party for her new puppy. Much of the initial scene is monologue from Ginny as she explains contact from a schoolfriend called Penny Ford (Eliza Williams) who is inviting Ginny to her second wedding.
Credited as Technical Designer is Gabriel Burns whose set of revolving white and red doors serves as backdrop and screens for playing of parts of black and white gloriously romantic moves from the 1940s like Casablanca and Brief Encounter . I kept seeing Celia Johnson, Humphrey Bogart, Trevor Howard and Audrey Hepburn. The arrangement of the doors means we are not just seeing clips but only sections of the full movie screen. I found the turning of the doors quite hypnotic. I think Kay Brattan as director has done a good job in keeping the story flowing for the first hour 45minutes.
As Ginny looks for a handsome man to hold up her end in the school reunion wedding there is an amusing list of online dating disasters. Some of the idiosyncracies of what men are looking for are sexually explicit and vulgar. Many, many male names are projected on the white screens as Ginny repeatedly hits the delete button. Ginny now describes herself as “floundering in the rubble of broken dreams.” Her experience of Facebook approaches leads her to rename the founder Mark Fuckerberg.
We see her working at IKEA with a colleague (Cyril Blake) she calls HEJ because that is what it says on the back of his Swedish T shirt. It is Swedish for hello but Ginny pronounces it Hedge instead of Hey and contact with him becomes Hedging. Eventually the online dating seems to pay off when she meets Sébastien from Paris despite her mother Trish’s prediction about the online perils of bad teeth, body odour, halitosis and not washing upon real time meeting.
As Ginny has no French vocabulary, her attempts at French are speaking English words with a French accent are singularily unsuccessful as she tries to ascertain who the real Sébastien is. I would have quite happily left the play there as I found the last half hour better to have been binned and the play was overstaying its welcome.
We’ll Always Have Paris
Written by Paul Kalburgi
Directed by Kay Brattan
Starring:
Miranda Colmans
Eliza Williams
Cyril Blake
Director: Kay Brattan
Technical Designer: Gabriel Burns
Intimacy Director: Liz Kent
Running Time: Two hours 20 minutes including an
interval
Booking to 3rd October 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 18th September 2026