Review: Letters From Max (Hampstead Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

The smaller downstairs space at Hampstead Theatre has predominantly been used to produce unperformed work, though the space does occasionally like to house the UK premiere of American work. That is what has happened with their current production, the European premiere of Sarah Ruhl’s Letters From Max. In a year that has proved a mixed bag for productions at the theatre, would their latest offering prove to be first class?

Premiering in New York in 2023, Letters From Max was originally a book published in 2018 based on playwright Sarah Ruhl’s real correspondence with her student Max Ritvo. After Max applies to Sarah’s workshop, her initial mentorship soon evolves into a friendship. The relationship is challenged further with the roles reversed after the return of Max’s childhood cancer allows Sarah the opportunity to become his student.

Adapted by Sarah Ruhl (with her original book credited to both her and Max Ritvo), Letters From Max used a mix of the letters both wrote to each other as well as poems, music and dialogue to tell a fully-fleshed out story about not just their writing and their relationship but themes that extend far beyond that. The beauty of art and connecting with a kindred spirit is present as are both the beauty and tragedy of life, with the overarching theme of mortality ever-present as both Max and Sarah deal with the developments in his condition and death itself.

If that doesn’t sound like the cheeriest of watches, Letters From Max may just surprise you. There are moments of comedy peppered throughout, while the story itself never attempts to go on a downer, instead managing to find beauty in the sorrow and remain optimistic as it ponders the biggest questions every living human has asked itself. It is deeply moving throughout, especially as the play heads towards its climax - the outcome of which is no surprise or spoiler. That inevitability doesn’t take away from its impact, however, in a play that is bursting with many different emotions.

The key to the success of Letters From Max is in Sarah Ruhl’s outstanding writing. Deeply intelligent, her storytelling ability is unrivalled with an ability to find the humanity in the situation and tell a story with such style, she manages to paint an entire world with her words. Though it is deeply intelligent, crucially it is also completely accessible. Poetry forms a big part of the writing with both hers and Max’s writing prominent in conversation - though poetry has never been a particular passion of mine, I found every utterance of one of them in the context of this play utterly compelling.

I always use the phrase “Theatre at its best can make you feel” and that is often the difference between a four-star show and five-star show for me. Letters From Max didn’t simply make me feel, it had me overcome from emotion throughout. Completely gripping, there is a real poignancy in the powerful writing. What made it truly connect with me like few shows manage is in its authenticity. Yes, this is a real story but the way the story was told was also so real that I couldn’t help but respond to it in an emotional way. Some shows may use tricks to manipulate the audience into feeling something - that is not the case here. Every emotion you feel comes across naturally and authentically, and that is what makes this play so magnificently special.

Directed by Blanche McIntyre, she has taken Ruhl’s writing and found a way to sensitively adapt it in innovative ways.Disregarding the relative constraints of the theatre’s small downstairs space, the use of reflective walls and flooring gives the illusion of a much grander space, with a screen splitting the stage in two an inspired touch to represent Max and Sarah’s distance from each other in their letter-writing. Dick Bird’s design beautifully showcases this with some clever touches in Guy Hoare’s lighting allowing their reflections to also be seen, culminating in one rather beautiful moment. McIntyre has thought about the execution of this story meticulously with every choice made delivered to a resounding success that doesn’t just match the genius of Ruhl’s writing but miraculously ever manages to elevate it.

The use of music in this production is another clever touch, with music being an integral part of the play. Though Letters From Max is a two-hander, a third person sits on the stage as composer and cellist Laura Moody brings an extra element to the story, accompanying the performances in a beautiful way.

Sirine Saba has the unenviable task of stepping into writer Sarah Ruhl’s shoes in a performance that astonished me from start to finish. Initially understated, withdrawn and certainly professional, her growing and evolving relationship with Max brings her out of her shell. As Sarah’s walls come down, Saba thrills in a subtle and nuanced portrayal, being our eyes into the all too short life of her student, friend and eventual teacher. 

The role of Max is played sensationally by Eric Sirakian whose charisma leaps off the stage from his first appearance. From brief interactions with the audience, I struggled to take my eyes off of Sirakian throughout as he embodied such a warmth and intrigue in a captivating portrayal of a larger-than-life character. Though Max is battling through what transpires to be a terminal illness, he never loses the light and this is reflected in Sirakian’s thoughtful characterisation. Though his character is the polar opposite of Sarah initially, the chemistry the pair have proves gorgeous to watch, even when they are miles apart from each other represented by the screen separating them.

It has been a long time since any show has resonated with me as powerfully as Letters From Max did. This was not a story or show I was familiar with and it completely took me by surprise, as did my overwhelming response to it. Powerful and poignant, it would be easy to call Letters From Max life-affirming but even that doesn’t feel enough to speak to its genius. With mortality at its core, it is rather admirable that in this utterly flawless production, Ruhl has made Max immortal both in his writing and his character. The result is one of the most beautiful pieces of theatre I have seen in quite some time, and without a doubt the best show I have ever seen at Hampstead Theatre. 

You don’t need to be a fan of poetry to enjoy Letters From Max - you just need to be alive to respond to this show, and if you come out of this show not feeling anything, you may want to check your pulse. A beautiful testament to not just the fragility of life but the art of theatre and art itself. Letters From Max is a masterclass in every respect and one of the best plays of the year.

Letters From Max plays at Hampstead Theatre until 28th June. Tickets from https://www.hampsteadtheatre.com/whats-on/2025/letters-from-max/ 

Photos by Helen Murray