Review: Conflict of Interest (The Hen and Chickens Theatre)

Review by Ruth Sealey

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I spent a big chunk of my working life as a police officer, and so I often find myself drawn to police and legal dramas. As a teenager, I also devoured John Grisham books and was fascinated by the gritty detail of the legal system. Conflict of Interest at The Hen and Chickens Theatre gave me the opportunity to combine both interests in a new fringe play set within the American legal system, complete with an alleged murder or two, mystery, and more than a few surprises. What was not to be excited about? With a story full of twists and turns, would this prove to be a case worth taking on?

The Hen and Chickens Theatre has long supported new theatre, and I watched several shows here this summer as part of the Camden Fringe Festival. Having premiered at The Lantern Theatre in Sheffield in July 2026, Conflict of Interest now moves to London for a short run. Entirely set in the offices of ‘Hargrieve Carmichael’, a successful law firm in Philadelphia, the play follows Arthur Carmichael and Mitchell Hargrieve as they work on the case of Rita Lempkin, who has openly admitted to being responsible for the death of her husband. Lempkin hopes that the pair can find a way to defend her and secure an acquittal, just as they did for Arthur’s wife, Lucy Carmichael, who he fell in love with while defending her in a similar murder case. As tensions rise, young intern Talia Cooper is drawn further into the case, and finds herself facing some difficult choices of her own. 

Thomas Carruthers, founding member of Righton Productions, has written something really interesting here, creating characters who are complex and never revealed entirely. This keeps the audience constantly guessing about who can and cannot be trusted. He also creates characters who elicit quite a visceral response – a comment made at the close of Act 1 drew several sharp intakes of breath from the audience, demonstrating the impact of the writing. The play does not shy away from some intense topics, some of which are blatant, such as the misogyny prevalent at the time, while others are drip-fed to build character before being revealed in some uncomfortable moments. There are some excellent elements, not least some witty, sharply written ‘drunken’ dialogue that is convincingly delivered. It is also an effective way of revealing secrets and emotions that these characters carry and build tension, as it quickly becomes clear that nothing is off limits. However, there are times when the pace stalls, with characters spending a disproportionate amount of time describing or explaining an event that could be conveyed more concisely. There is enough excellent writing here that, with some judicious trimming, the play could have more impact. 

Director Jazz Sewsanker is also a founding member of Righton Productions, and I can feel the connection between writing and direction. She clearly understands Carruthers’s vision for the play and brings it to life with clever touches, including direct address to the audience and moments of the trial that draw us in before abruptly putting us back in the position of outsiders. The movement and physical reactions and interactions are particularly strong, with subtle gestures and interactions between characters adding another layer to their relationships and revealing plenty without the need for words. There is, however, a little too much time spent on exits and entrances, which occasionally leaves some awkward moments of waiting for someone to return with a glass (there were a lot of glasses!). Tightening these transitions would improve the flow and help maintain the pace of an otherwise well-directed production.

The writing is good, but the cast is excellent, lifting the material through some exceptionally strong performances. It is difficult to talk about the characters in isolation, as so much of the success comes from the strength of the ensemble. Rhian Holmes brings a whole world of sarcasm and a biting tongue as Rita Lempkin, and her portrayal had me swinging regularly between sympathy and dislike. The combination of Carruthers as Arthur ‘Art’ Carmichael and William Leggetter as Mitchell ‘Mitch’ Hargrieve is a particularly fascinating dynamic. Their relationship is toxic whenever they are together, with their dislike for each other seeming to ooze out of every pore. Just when you think you have got to know them and formed an opinion, the rug is pulled from under the audience, and both actors carry the twists and turns of their individual and shared storylines with real conviction.

Among a uniformly strong cast, though, the performances of Amy Cash as Talia Cooper and Maeve-Anne Allen as Lucy Carmichael really shine. Both have very different roles to play and are definitely the easiest to sympathise with and warm to. Allen handles the ‘is she really innocent?’ storyline with a beautifully subtle performance, initially capturing Lucy’s determination to continue life and put the past behind her, before unleashing powerful bursts of emotion as her story develops. Cash’s Talia is the thread that links the characters together, and she does so with real presence. She captures Talia’s naivety and then evolves as her frustration and anger build, giving the character a convincing journey and emotional conclusion. Together, the cast create characters who feel complex, believable and, crucially, never quite as straightforward as they first appear. 

The play is set over the Christmas holiday period, and the set design is uncredited. However, the detailed set is exceptionally well done, in keeping with the 1980s theme perfectly and a throwback to my childhood Christmas decorations. It is cluttered and claustrophobic, perfectly suited to the small space of The Hen and Chickens Theatre, creating a sense of foreboding that adds to the overall atmosphere of the production.

Conflict of Interest, at this point, gives us a glimpse of what it could become. The themes it tackles are important and enveloped within mature writing, with a clear vision for its story and characters. Carruthers has a real skill for writing detailed, layered characters and, surrounded by a talented cast and creative team, he has created something with an exciting future. Like many fringe productions in their early iterations, there are some creases to iron out and some areas that could benefit from further development, but there is certainly a strong case here for Conflict of Interest to reach a bigger audience.

Conflict of Interest plays at The Hen and Chickens Theatre until 3 October. Tickets from https://unrestrictedview.co.uk/events/conflict-of-interest/

Photos by Alfie Cowgill and Rhian Holmes (Lantern Theatre, Sheffield)