Review: Sting (The Maria Theatre, Young Vic)

Review by Phil McCullough 

⭐️⭐️⭐️⭐⭐️

The history of witchcraft collides with modern issues of police brutality, coercive control, and violence against women in this psychological drama. Sting promises an exploration of power, abuse and the systems that enable them, but does it feel balanced in its portrayal of the police and victims? The latest production in the Maria Theatre at the Young Vic arrives with high expectations. To date, I have never seen a bad production in this space. Would Sting continue that impressive run or would it be the first to lack energy, innovation, and dramatic bite?

The play was conceived in 2022 when writer Sophie Swithinbank was researching the history of witchcraft. From the Salem witch trials of the late seventeenth century, Swithinbank became interested in how systems of law and order have historically supported and perpetrated violence against women. The result is a contemporary story set in an archive where two women catalogue historical cases of women accused of witchcraft. After an incident at work involving newcomer Ash, her boyfriend arrives as the apparent knight in shining armour. However, all is not as it seems. Swithinbank previously won the Tony Craze Award for her breakthrough play Bacon in 2022, and Sting marks her first premiere at the Young Vic.

The play opens with pulsating dance music as Ash dances alone in a smoky nightclub before arriving at her new job looking like she has had a very rough night. Within minutes the scene is set. Ash is chaotic, impulsive, and seemingly spiraling. Swithinbank's writing is excellent, and she does a particularly strong job of making Ash feel complex. She is vulnerable and damaged, yet also quirky, funny, and full of life. The dialogue between Ash and her boyfriend Dom feels sharp and authentic. On the surface, Dom appears caring and protective, worried about Ash's safety and wellbeing, yet there is something darker lurking beneath. When the mask slips and he threatens to break her thumb if she refuses to let him search her phone, the moment is genuinely chilling. More importantly, it feels believable.

Traverse staging creates an intimacy that draws the audience deep into the action. Director Nancy Medina places towering floor to ceiling archive shelves on either side of the playing space, filling them with boxes and props that make the environment feel increasingly claustrophobic. The direction throughout is exceptional. I particularly enjoyed the choreographed sequences, which often felt almost ritualistic. There is a striking scene where Ash and Dom have sex in a workplace shower behind a translucent door, with smoke and red lighting creating a disturbing atmosphere around what initially appears to be intimacy. The audience is left questioning how consensual the encounter really is and at what point Dom realises he is causing genuine harm. Medina also plays cleverly with the audience's senses. After Ash burns notes documenting her abuse, the smell of charred paper lingers in the theatre. Later, when the archive catches fire, smoke pours into the space, making the blaze feel frighteningly real. It is an effective piece of theatre that pulls the audience directly into the drama.

Adelle Leonce delivers an outstanding performance as Ash. She plays the troubled young woman with warmth, vulnerability, and remarkable emotional depth. Ash is immensely likeable, but there is also a sadness that sits just beneath the surface throughout. Leonce captures both sides beautifully and her performance anchors the entire production.Nick Blood is equally strong as Dom. His portrayal of a coercive and controlling partner feels unsettlingly real. The most interesting aspect of the performance comes when it is revealed that Dom is a police officer. Blood skillfully shifts between the roles of boyfriend and law enforcement officer, showing how power and authority bleed from one part of Dom's life into another. Phoebe Ladenburg is also excellent as Ash's colleague Lily. She brings warmth, concern, and relatability to the role, creating a character who feels completely believable. Across the board the performances are superb, and I found myself utterly engrossed as the play hurtled towards its climax.

Composer and sound designer Nicola T. Chang creates a score that is both atmospheric and deeply unsettling. The music heightens the tension throughout while helping to build the production's distinctive mood. One standout moment comes when Ash and Lily are out clubbing and share a connection while dancing to Donna Summer's I Feel Love. Combined with Rachael Nanyonjo's movement direction, it is a beautifully staged sequence that provides a rare moment of joy and freedom amid the darkness.

Overall, I thought this was an outstanding production that raises questions which linger long after the final scene. In the closing moments, when Dom accuses Ash of conjuring bees to come and sting him, it casts a dark shadow over the countless women throughout history who have been accused, punished, and persecuted as witches. Swithinbank has written a thoughtful and powerful play that examines what happens when people abuse positions of trust and authority. Beautifully written, brilliantly performed and directed with real confidence, Sting is another triumph for the Young Vic.

Sting runs until 18th July at the Maria Theatre, Young Vic. Tickets from: https://www.youngvic.org/whats-on/sting

Photos by Helen Murray