Maternal Pain and Devotion
“No, Facebook is for old people.”
Miriam

I cannot think of anything worse than losing a child and never knowing if he were dead or alive. This is the situation that Miriam Wright (Nicola Walker) finds herself in. Walker is an actor with subtle but penetrating nuance: she can talk quietly yet every member of the audience can hear what she is saying and feel what she is feeling.
This is the kind of situation where we might turn to religion, to the hope that there might be an explanation in the future, a place where we might find each other again. I was taught at university that religion functions sociologically for people to turn to it for comfort when there is pain, suffering and death.
When he was writing The Unbelievers, Nick Payne was thinking about the case of Ben Needham, the child who disappeared in Kos aged 21 months in 1991. Payne was focussing on the projected images as to how Ben would look over the years as he aged and the articulated loss of all future years since Ben was last seen by his family. The mystery of Ben Needham has never been solved and each sighting brings hope but ultimately pain to his mother and family.

The play has scenes from the month of Miriam’s son Oscar’s disappearance, to a year later and then seven years later. He was 15 years old; his mother and father David (Paul Higgins) had just told him that they were divorcing. Boys at school had teased him about wearing braces on his teeth.
Oscar has two siblings, Margaret (Ella Lily Hyland) a full sibling and older, and Nancy (Alby Baldwin) a half sibling from her mother’s first marriage to Karl Gomez (Martin Marquez). The first marriage had both mother and father drowning in alcoholism. Miriam became sober; Karl became a vicar.
David, seven years after Oscar’s disappearance hankers after organising a memoriam for Oscar, a celebration of his life but Miriam rejects the idea and prefers instead to follow up on a sighting of Oscar in Ghent on the same day as the planned memoriam. Miriam feels that they are trying to achieve closure but she is never going to give up on her son.
The excellent central performance is that of Nicola Walker but Ella Lily Hyland is also moving as the child her mother neglects showing no interest in her grandchild. Margaret gives a moving explanation as to how her mother has been totally absorbed in the search for Oscar and has paid less attention to her other children.

There are scenes with the police and the Family Liaison Officer (Lucy Thackeray) who keeps the family informed of the measures they are taking and encourages them to film a television appeal which raises issues for some of the family.
Bunny Christie’s sets are often divided and here there are glass sliding doors behind which non participating actors sit at the rear of the stage. The ceiling is made up of compartments and the walls have columns all of which cast interesting shadows in different scenes.
There is discussion of religion. Are the unbelievers atheists or agnostics, or those that fail to believe that Oscar might come back? As Karl is now a vicar he is looked to. Marianne Elliott directs with sensitivity but I am left as an unbeliever. This is a very fine play on a difficult and distressing subject.

Production Notes
The Unbelievers
Written by Nick Payne
Directed by Marianne Elliott
Cast
Starring:
Isabel Adomakoh Young
Alby Baldwin
Jaz Singh Deol
Paul Higgins
Ella Lily Hyland
Harry Kershaw
Martin Marquez
Lucy Thackeray
Nicola Walker.
Creatives
Director: Marianne Elliott
Designer: Bunny Christie
Lighting Designer: Jack Knowles
Composer and Sound Director: Nicola T Chang
Movement Director: Etta Murfitt
Information
Running Time: One hour 50 minutes
Booking to 29th November 2023
Theatre:
Jerwood Theatre Downstairs
Royal Court Theatre
Sloane Square
London SW1W 4AS
Phone: 020 7565 5000
Website: royalcourttheatre.com
Tube: Sloane Square
Reviewed
by Lizzie Loveridge
at the Royal Court on 21st October 2025

