Review: The Village Where No One Suffers, Brockley Jack Theatre

February 24 2026 marked the fourth year of the Russia-Ukraine conflict. The impact has been immense, with an estimated 500,000 deaths including both Ukrainian military and civilians. Ukrainian playwright Polina Polozhentseva locates her play in a remote Ukrainian village, one that has been largely unaffected and untouched by the war; its residents have been going about their daily lives without fear of draft letters, with the conflict in their peripheral vision, protected by an unseen force. This peaceful period ends shortly before Lukyana (Sofia Natoli), a Ukrainian living in Poland, returns to live at home for a month, following her Grandmother’s passing. 

Lukyana initially struggles to adjust to the realities of rural living. Her neighbour, ‘Aunt’ Valya (Nailah S Cumberbatch), helps with the transition and urges her to connect with her Grandmother’s spirit. Lukyana seems at odds with her life, particularly with her engagement and upcoming wedding. She mostly avoids the topic, instead choosing to dodge calls from her fiancé and reignite an intimate relationship with childhood friend Pasha (Christopher Watson). Whether it is the grief, or a quarter-life crisis causing her to lose her way, Lukyana’s arrival comes at a time when she needs guidance and to find her life’s purpose. 

Polozhentseva’s script focuses on the value of community, along with forging connections to one’s heritage and customs (explored here through Lukyana’s inheritance of her grandmother’s gifts – the ability to wield magic and therefore protect the village from war) in the wake of loss, and how this can bring comfort. There are moving moments in which Lukyana calls out for her grandmother but is instead met with silence. Although some references and place-names flew over my head, this did not impact understanding of the plot. Polozhentseva’s script provides insight into a rich culture, one that is innately connected to folklore and magic. Valya seems, at first, to not understand how the magic works, but in later scenes, is educated on it; this is an evident inconsistency. Pacing is slow at first and information is drip-fed, especially regarding Lukyana’s life, which impedes the understanding of her character and what really motivates her. 

Set is simple, with a wooden kitchen table (doubling as a bed for Lukyana and Pasha’s trysts), chairs and various props such as a mixing bowl and baskets containing Lukyana’s grandmother’s belongings. Folkloric music by Mariia Petrovska frames the show nicely, fitting with the aesthetics as well as strengthening the overall world-building. 

Director Valery Reva brings this little corner of the world to life vividly and with confidence. However, dramatic pauses are relied on too heavily (Lukyana often reflectively looks out at the middle distance, types on her phone or waits for buses), interrupting the overall flow as a result.  

The cast do well delivering Polozhentseva’s humorous dialogue (Watson’s Pasha quips memorable lines throughout in an amusingly dry, blunt manner) whilst maintaining the moody, reflective feel. Cumberbatch’s Valya remains chipper throughout, with deft comic timing and boundless energy. Natoli takes a more subdued, subtle approach for Lukyana, which allows for a significant emotional journey. Despite being executed well, the two differing performance styles clash on occasion, which causes a slight imbalance. 

Although the ending is abrupt and a little rushed, this eccentric play offers optimism in a time of darkness, with strong characters and an imaginative plot. In Lukyana’s choice to leave her life behind to help her community, we hear a plea to end war and suffering, with the message that we are stronger together. It’s a suitable sentiment to end on, one that feels entirely appropriate for Polozhentseva’s ode to heritage, identity and community. 

Director: Valery Reva
Writer: Polina Polozhentseva
Music: Mariia Petrovska

This show has completed its current run.