Review: Daniel’s Husband (Marylebone Theatre)
- All That Dazzles
- Dec 10
- 6 min read
Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
At this time of year, theatre lovers are spoiled for choice. From pantomimes and festive favourites to big glitzy musicals, there’s plenty to draw the eye, which means some of the smaller off-West End productions can easily slip under the radar. One example is the newly opened Daniel's Husband, making its UK debut after an acclaimed run off-Broadway. If you're looking for an alternative show with a bit more meat on its bones this Christmas, this may just be the perfect offering.
Daniel’s Husband tells the story of a gay couple, Daniel and Mitchell. Having been together seven years, they are thriving through successful careers, a beautiful home and devoted friends. The only thing they disagree on is whether they should get married. With the arrival of Daniel’s overbearing mother, the argument heats up until one unexpected crisis shakes their foundations and tests the very strengths of their relationships, asking whether our strongest convictions live in our hearts or our minds.
If that sounds like a fairly vague description, that is for very good reason. There is much more to Daniel’s Husband than I can reveal without completely spoiling the show. Even after talking to two cast members on my podcast, they were deliberately cagey over the content of the show, not wanting to reveal too much and reveal the “surprise” (for lack of a better word). This meant I went into the play pretty unaware of what was about to happen, aside from the knowledge that there would be a sudden shift at some point. To that end, this review will talk about the show while remaining spoiler-free - this really is one play everybody needs to experience for themselves for full impact.
Written by Michael McKeever, Daniel’s Husband can be split into two parts, with its tone changing dramatically. It starts off fairly light-hearted, setting itself into comedy territory with no shortage of laugh-out-loud moments. McKeever was already on to a winner with a series of well-crafted jokes, brilliant characterisations and differing dynamics between the mixed pairings. This is flipped on its head completely after what I shall refer to as “the incident”. The play then becomes a lot less funny as the characters grapple with the aftermath of this life-changing occurrence and how it will affect their futures. To be so adept at crafting seemingly harmless comedy before ripping into the biggest complexities of humanity in such a raw, unflinching and unfiltered way is a testament to McKeever’s incredible skill as a writer. The result is a staggeringly good piece of writing that is up there with the very best I have ever seen.
The high bar set by McKeever’s impossibly impeccable standards is miraculously matched through every other element present in Daniel’s Husband in a production I can’t call anything other than perfect. It is all held together by Alan Souza’s inspired direction, always heightening the emotion and landing the moment with ease, with a series of phenomenal choices. Souza clearly has a profound understanding of McKeever’s writing, leading to a beautiful marriage of their talents - this is most evident in the two mirroring monologues found throughout the play, both arriving at surprising times, repeating aspects in both and drawing comparisons as the situations get reversed. Flawlessly executed and faultlessly delivered, as is the landing of “the incident” in itself - the timing and meticulous direction in this particular moment led to audible gasps, both of astonishment but also wonder at the wonderful theatre I was witnessing.
Justin Williams’ set design beautifully creates the home of Daniel and Mitchell in a set that feels authentic for the characters, and full of glorious details, particularly the props that prove so vital throughout the course of the play as they are referenced. Jamie Platt’s lighting design is equally stunning, as is the crucial nature of Sarah Weltman’s sound design - subtle in places and even stopping altogether, plunging the show into eerie silence as everybody in the theatre holds their breath in unison.
A cast of five delivers equally outstanding performances in what is the best ensemble work I have seen in any play this year. Joel Harper-Jackson takes on the role of Daniel in a sensationally well-rounded portrayal full of light and shade. Initially charming, moments of anger creep into the performance, with Harper-Jackson demonstrating his remarkable talents as an actor in a demanding yet always exceptional performance. Luke Fetherston plays Mitchell, bringing the perfect balance to Harper-Jackson’s Daniel, and providing some of the standout moments throughout the play. One pivotal and extremely emotive scene showcases Fetherston’s immeasurable strengths in an incredibly raw and real performance. The dynamic Fetherston and Harper-Jackson have together elevated their scenes, allowing for the audience to believe in them as a couple and root for them as the play progresses.
Liza Sadovy is in fine form as Daniel’s mother, Lydia. Her character stays fairly consistent in her brash nature, but the tone and meaning of these actions change as the play develops. Sadovy relishes this opportunity in a strong and sturdy performance that once again showcases why she is one of the most well-regarded actresses in theatre, and why her track record speaks for itself. Her stage time may be comparatively limited, but she more than makes up for it, making her presence felt at all times. David Bedella is a soothing presence as Barry in a role that again feels initially comic, though he refreshingly keeps one toe in the comedy as things take a turn. The cast is completed by Raiko Gohara in a mesmerisingly good turn as Trip, the youngest and newest member of the group, who thrills at every lovable appearance.
I can’t end this review without talking some more about Michael McKeever’s sensational writing. The very nature of the show’s title is a testament to his genius, with the idea of what actually constitutes “Daniel’s Husband” key in the story. Again, I can’t say much more without spoiling events, but the way seeds are planted in the initial scenes without making anything too obvious means the initial payoff is all the more impactful. There is a degree of foreshadowing, but I, for one, could not see the twist happening and even if somehow you do, it is the journey, both in how you get there and where you go from there, that makes Daniel’s Husband such a compelling piece of theatre.
I went into Daniel’s Husband blissfully unaware of what I was about to see, and, truth be told, there was even a time when I was planning to attend another show instead of this one - the perils of press night clashes. I’m more than glad this was the show I chose, as what I saw over the course of a rapid 90 minutes reminded me of what theatre can accomplish at its very best. The worst kind of shows are the ones that make you feel nothing - Daniel’s Husband has no shortage of emotions attached to it. Where I found myself laughing in the early scenes, I can’t think of the last time I cried as much as I did in the subsequent scenes. Not just a slight tear down the cheek, I had to suppress a full-on sob - that is how much this phenomenal play moved me
I never usually urge people to see a show and ask them to make up their own minds on what to see out of the many shows out there at the moment. I am not doing that this time. Everybody should see Daniel’s Husband. It deserves to be seen. This is what theatre should be and really is theatre at its very best in an incredibly strong contender for the best play of the year. Completely flawless in every way, never before have I seen a show more deserving of a West End transfer - Daniel’s Husband is absolute perfection.
Daniel’s Husband plays at Marylebone Theatre until 11th January. Save up to 39% with tickets starting at £22 from
Listen to the latest episode of All That Chat - The All That Dazzles Podcast with cast members Liza Sadovy and Joel Harper-Jackson on Apple Podcasts and Spotify now.
Photos by Craig Fuller