The Thunderbolt is all class in its plot, its ensemble cast and keeping the excellent standard set by Red Phoenix.
The Thunderbolt, by Arthur Wing Pinero is another very meaningful drama with a strong ensemble from Red Phoenix Theatre. Director Libby Drake has assembled a cast of diverse, believable characters who inhabit their roles perfectly, emotionally and physically without becoming stereotypical clichés.
A wealthy bachelor and successful businessman dies without a will and we witness the first meeting after his death of his four estranged siblings and their lawyer. The “thunderbolt” is the shock revelation that their just-deceased brother has a daughter and she will soon be joining the gathering. The tension increases when the estate is revealed as worth $34 million in today’s money.
The Thunderbolt by Arthur Wing Pinero
Presented by Red Phoenix Theatre
Directed by Libby Drake,
Artistic Director and co-founder (with Michael Eustice) of Red Phoenix Theatre
October 22-31, 2026
Goodwood Theatre and Studios
166 Goodwood Road,Goodwood
There are twists and turns in the plot that will keep you guessing from the first scene to the last five minutes.
The play was written as a “social drama” in 1908 but, apart from a few references to the era, it could have been written this year. The socio-political themes are modern and still relevant and will stay with you.
I’m a fan of anachronistic music, modern music used in period dramas including My Brilliant Career, Bridgerton and The Buccaneers. Libby Drake has chosen modern songs such as The Flying Lizards cover of the Beatles’ “Money (That’s What I Want)” for scene changes which highlight the sharp contrast between eras.
Libby Drake has kept up the pace in scene changes and dialogue and given everyone her/his moment to shine. There is much to like in the humour and the clever script which touches on a mixed bag of human psychology. Greed, ambition, hypocrisy, misogyny, moral choices, class snobbery, power, marriage and equality of the sexes.
The cast captures the suppressed and desperate tension of this basically middle class family hoping to break through to real wealth beyond the Victorian/Edwardian respectability that is its only asset.
Pinero, a prolific playwright who wrote 54 plays, was also an actor, performing Shakespeare, farces, comedy and drama so he knew how to write for actors and understood the impact of concise dialogue to get across complex ideas. He championed the rights and freedoms of the “New Woman” movement which fed into the Edwardian women’s suffrage movement. These radical ideas were challenging for their time and saw him “cancelled” by one theatre for one of his more well-known plays, The Second Mrs Thackeray.
Today, the rise of the manosphere and tradwife movements tell us it is still worth airing and discussing Pinero’s views.
It’s a pleasure to see Michael Eustice command the stage again as the eldest sibling James Mortimore. Looking very dapper in a check suit and relishing his new role as head of the family, Eustice drives much of the action in the beginning and is a joy to watch as he tries to steer the family through the obstacles to a sizeable inheritance trying so hard not to appear greedy or immoral.
Steve Marvanek as Stephen Mortimore gives a solid performance as an ambitious newspaper publisher wanting to increase his standing in the community. Joshua Coldwell gives a terrific comedic performance as Colonel Ponting, feverishly grasping for potential wealth without moral considerations.
Annie Matsouliadis, Katie Packer and Anne Doherty play their roles as sister and wives well. Through them we see the attitudes to women and also the shallow power they wield through malicious gossip and influence on their husbands. (Knowing Katie Packer’s beautiful voice, I spent the first few minutes of Act One recalling her belting out songs as Judge Jackie in Disorder in the Court. I got back on track pretty quickly and delighted in her as a demure Victorian lady.)
Leighton Vogt as Thaddeus Mortimore always impresses with his depth of emotion and stage presence. He conveyed his deep love for his wife without sentimentality and was emotional heart of this dysfunctional family.
Jessica Corrie as his wife, Phyllis was deeply conflicted, the victim of the dysfunctional family’s petty snobbery, yet honest and moral in the end. This was a hard role to play without appearing constantly hysterical. She paced herself well, expanding her character with great restraint and delivered her shocking confession to maximum effect.
Elisha Johnson as Helen the secret daughter, dressed in saintly white, was the epitome of the “New Woman”, educated, strong and independent. She was demure in the beginning, then showed her wisdom and moral backbone as the story unfolded. With lovely pacing and quiet conviction, she calmly navigated her way through the family crisis and available options. Richard Parkhill’s lighting on Helen to close the play was memorable and gave her a striking dignity.
Malcolm Walton and Jai Pearce were the two solicitors, nicely contrasting in age and style.
The well-cast ensemble was completed with Tim Williams and Akira Hockley Miric.
Kate Prescott’s set – her 12th for Red Phoenix – met the challenge of a big cast and three locations, allowing the action to flow.
It is a strong ensemble and the play still has things to say but I like my Red Phoenix plays served edgier and with more grit like their terrific Cyprus Avenue and Hangmen.
– Vicki Arnold