Review: Eclipse (Minerva, Chichester Festival Theatre)

Review by Hywel Farrow-Wilton

⭐️⭐️⭐️

I absolutely adore the Minerva Theatre. As the smaller sister to the main house at the Chichester Festival Theatre, it often plays host to more ‘experimental’ pieces of theatre or ‘out-of-town’ try-outs, and because of the more intimate nature of the space, I always find myself more engrossed in the shows. Eclipse, the latest offering from the 2026 Festival programme, is beautifully designed but lacks any grit or major dramatic tension. The resulting production is a perfectly watchable show, just not a particularly moving one.

Eclipse takes place over the course of twenty-four hours in an old rectory in rural Devon, where the middle-aged siblings, Sarah and Jonathan, arrive to manage the care of their father, Edward, in his final day. Edward is never seen nor heard from throughout the play, which takes place in the kitchen and garden of the house. Sarah and Jonathan are visited by a rotation of nurses, a doctor, friendly neighbours, and an old friend called Nell, whose mysterious presence brings some welcome tension to the piece but ultimately fails to develop into anything particularly exciting.

This is writer and director John Morton’s first stage play. He’s best known for his work in spoof mockumentary comedy, having worked on television shows such as Radio 4’s People Like Us, and comedy Twenty Twelve. You can definitely hear Morton’s comedic roots throughout the play, and there are many good laughs to be had. Most of the humour comes from recognisable upper-middle-class stereotypes, which are sharply observed and land well amongst Chichester’s mostly affluent, grey-haired audience. The show and its characters are so steeped in high society that it almost feels jarring to hear them speak of more pedestrian activities, such as trip to Morrisons. These are the kind of people you would be more likely to pass in Waitrose discussing pilates, or how dear Hugo is settling in at boarding school.

Whilst the laughs keep the play chugging along, there are almost too many of them, meaning they slightly overshadow the emotional core of Edward’s impending death. When it finally arrives in the closing moments, the emotional gravitas feels cushioned, both by the preceding comedy and the rather muted reactions of the characters. That said, I did notice many audience members wiping away tears and drawing shuddering breaths, so it does clearly hit an emotional nerve for some, presumably those who relate much more closely to the narrative than I did.

Morton’s direction is one of full devotion to naturalism. This is not surprising for someone whose professional directing work has been in television, but the play ultimately feels like a TV show put on stage. This is not necessarily a bad thing if faithful realism is what you look for in your theatre, but it does mean the production lacks moments of theatrical flair, unable to truly utilise the immediacy or intimacy of the live form.

The cast is primarily led by Sarah Parish as Sarah and Rupert Penry-Jones as Jonathan, the children of the ailing Edward. Fans of Morton’s work may remember Parish as Anna in W1A, and will be pleased to know that she plays essentially the same character, complete with many “yes, no’s” and other witticisms that made her character entertaining to watch. Rupert’s Jonathan makes a decent attempt to locate emotional depth in the dialogue, but like Sarah, his character remains so tied to familiar stereotypes that it struggles to offer anything particularly fresh.

Paul Thornley as Graham and Lizzie Hopley as Linda are the standout performers, partly because they are given the strongest comedic material, but also because they manage to deliver the play’s most affecting emotional beats. As Sarah’s husband, much of Graham’s comedy stems from over-familiar spouse who is a bit too interested in one of the nurses, Julia, whilst Linda is a very bubbly, fun nurse who largely plays into northern stereotypes. Both performers win over the audience, which allows their more emotional moments to resonate more strongly.

The set, designed by Simon Higlett, is absolutely stunning and a pleasure to watch throughout. Much of the dialogue centres on the beauty of the garden and, within the limited space, Higlett creates something that convincingly supports the characters’ claim that it is a place where, when you enter, “deep down things are alright”. The wildflowers are beautiful, as is the huge willow ring suspended in front of the cyclorama, symbolising a portal, embracing the theme of moving on from one world to the next. 

Overall, Eclipse is a safe play that leans on well-worn stereotypes for its comedy, often at the expense of deeper emotional complexity. Whilst I still had an enjoyable evening, its lack of complexity meant it never quite captured my full attention. Go expecting a solid run of laughs, and you may find yourself pleasantly surprised if it moves you more than it did me.

Eclipse plays at the Minerva, Chichester Festival Theatre until 6^th June 2026. Tickets from https://www.cft.org.uk/events/eclipse

Photos by Ellie Kurttz