Review: Lambslaughter, King’s Head Theatre

Following the stories of two sixth-formers and their interactions with each other and their English teacher, Lambslaughter explores the influence of social media and the pressure of adolescence. What begins as harmless banter and complaints on Twitter (now X.com) rapidly evolve into accusations that spiral out of control, straining the relationship between the two friends and the reputation of their teacher, Mr Barrett (Louie Threlfall). 

Posting anonymously behind the Twitter handle @OurLadyProbz, Chloe (Erin Riley) shares her experience with the world as they cross her mind. While some are real, others are wildly exaggerated. Through the lighting designed by Jaroslaw Ciba, Chloe’s tweets are projected onto a white sheet at the back of the stage, providing the audience with a real time update of what she is going through or how she feels after the various events. Olivia Revans’ script creates a stark contrast between the actual and the exaggerated or misrepresented narratives by allowing audiences to witness the real stories that unfold alongside her tweets. 

While Chloe uses social media as an emotional outlet, her friend, Jade (Freya Jones) is less frequently seen posting. Instead, she keenly absorbs the contents and internalises much of the negativity until they manifest in an unhealthy way. Mr Barrett’s presence and lessons act almost as a counterbalance to the misinformation the girls receive, or how they perceive themselves and the world around them through social media. Through a debate between Mr Barrett and the girls, the play questions the foundation of truth and what it means to different people, distinguishing it from facts. Here, the girls argue that truth is often what is perceived to be correct and agreed by the majority, almost as if actuality is irrelevant.

This is further examined through the class’s study of The Crucible, the morality of the text, and John Proctor’s character as examples of the foundational message of Lambslaughter. This intricacy adds depth and layer to the plot’s progression, explaining Jade’s body dysmorphia and also Chloe’s constant need for attention from her followers. The script also plants several seeds that allude to bigger problems, including Mr Barrett’s past and how he ended up as a teacher, and the fundamental moral differences between the girls. However, many of these are not given the spotlight to be further fleshed out and the story ends without ever joining up some of the dots. 

Under the direction of Revans, the actors create a realistic portrayal of their characters. Riley’s Chloe, in particular, wears her heart on her sleeve. She is combative and challenges Mr Barrett to instigate an emotional response with every opportunity. In contrast, Jones’ character is more reserved, but complements Riley, almost creating a push and pull dynamic, maintaining semblance of a productive classroom. Threlfall, though reserved and calm, but also evidently repressing some underlying issues, ties the whole story together. He observes the girls’ behaviours and after realising the absence of a mentor figure in their lives, attempts to fill this gap. However, without further exploration into his past, it is difficult to foster an emotional connection with his character.

Lambslaughter showcases the evolution and maturation of young people, emphasising the need of an experienced mentor to guide adolescents at an impressionable age. Though not necessarily a happy ending, the story conveys hope and highlights the need to move forward.

Written and Directed by Olivia Revans
Lighting Design by Jaroslaw Ciba
Produced by Jack Steadman

Lambslaughter has completed its current run at King’s Head Theatre.