Review: The Hidden Dangers of Camping (Theatre Royal Windsor)
Review by Ruth Sealey
⭐️⭐️⭐️⭐️
I have never considered camping to be a dangerous pastime. In fact, on a glorious summer evening like this, spending time in the great outdoors seems just about perfect. However, The Hidden Dangers Of Camping arrives at the Theatre Royal Windsor promising to shatter that idyllic image. But would camping prove to be the real danger here, and would this play make me think twice about planning that summer camping trip?
The play starts in a therapist’s office, where Casey begins to unpack the childhood experiences that continue to shape her adult life. The story then takes the audience back to a family camping trip with her parents, Ruby and Sawyer, and her sister Andi. It soon becomes clear that this is far from an ordinary family holiday. Ruby and Sawyer’s open relationship creates growing tension within the family, while the girls are exposed to conversations and situations that no children should have to navigate. As the play unfolds, the relationships between the sisters as adults and their parents are gradually revealed, forcing each of them to confront the lasting consequences of choices made years before.
Liesl Wilke’s writing allows a cast of richly complex characters to develop as the play progresses, gradually revealing the experiences that have shaped them. The non-linear structure in the first act sometimes feels a little disjointed, and it takes time to establish the relationships between the adults. The camping scenes themselves include moments that do not need to be so graphic, and this is not a question of being prudish, but of impact. Rather than creating discomfort as two young girls cover their ears, these moments instead prompt laughter from the audience, which feels at odds with what Wilke seems to be trying to achieve.
Act Two is very strong indeed and more than makes up for the slightly chaotic opening. Wilke’s writing settles into a more straightforward narrative, allowing the emotional weight of the story to come to the fore. The dialogue between the sisters is by turns gentle and loving, then fierce and passionate, revealing an emotional depth that the first act only hints at. The structure of the second act, culminating in the final scenes between Casey and her daughter, is beautifully written and provides a very satisfying conclusion.
Bronagh Lagan’s direction is superb, making full use of Nicky Bunch’s imaginative set. Built across a series of raised platforms at varying heights, the design effortlessly creates multiple locations while maintaining a sense of flow between them. The cast move seamlessly through the space, with transitions and flashbacks skilfully choreographed. Bunch’s attention to detail is equally impressive. From the camping equipment to the lived-in feel of Casey’s kitchen at Thanksgiving, every prop serves a purpose. Lagan’s direction allows these details to become part of the storytelling, using them to build character and tension. It is satisfying to see direction and design so closely aligned, with each enhancing the strengths of the other.
Charlie Brooks plays Ruby, the mother of Casey and Andi, with a playful naivety in the first act, seemingly oblivious to the impact her choices have on her daughters. Her transformation into older Ruby is beautifully judged, and the ease with which she portrays the same character decades later is impressive. Her relationship with Max Brown’s Sawyer is fascinating to watch develop, and Brown is equally adept at revealing the darker side of his character as the play progresses. A flashback in which Sawyer strikes the young Casey is genuinely shocking, marking a turning point that changes the audience’s perception of him.
Sandra James-Young is excellent as the therapist Renee, gently guiding Casey through her childhood memories with warmth and empathy, while Olivia Woolhouse brings both attitude and genuine affection to the role of Casey’s daughter Meg. Sophie Mensah and Stephen Rahman-Hughes are equally convincing as a couple drawn into the complexities of the camping trip. However, it is the connection between the younger and adult versions of Andi and Casey that drives this story. Polly Allen as Young Casey and Scarlett Nunes as Young Andi form a beautiful partnership, supporting each other through the confusion and complicated circumstances created by their parents. Allen, in particular, captures Young Casey’s frustration as her parents’ relationship unravels, while the responsibility she feels towards Young Andi is portrayed with real vulnerability.
The parallels between the younger and adult versions of Casey and Andi are beautifully realised, with Jess Nesling as Casey and Alix Dunmore as Andi creating a truly believable bond as the adult sisters. The production is at its strongest when they share the stage, with their connection and understanding palpable throughout. Dunmore brings a quiet resignation to Andi, with a sense that she has accepted that the past cannot be changed, while still carrying the weight of everything that has happened. Nesling is a revelation as Casey, delivering a performance of remarkable emotional range. From the warmth of a loving mother, to the vulnerability of a therapy session, to raw anger and frustration towards her family, she navigates every shift with complete conviction. Nesling carries much of the production’s emotional weight and marks herself out as a talent to watch.
Jane Lalljee’s lighting design cleverly divides the stage into the different sections, working in harmony with the raised staging, while also transforming the space into the wider environments of the forest, campsite and Casey’s home. The ability to move so fluidly between intimate spaces and focused spotlights, to the expansive setting of the forest and campsite is impressive. The lighting is complemented by Matt Powell and Jack Baxter’s video design, with moments such as Meg spinning in the forest while the trees rotate around her providing particularly striking visual touches. Julian Starr’s sound design and composition further enhance the movement between time and place, using elements such as heartbeat-like percussion and the sound of an exhaled breath to create transitions that feel coordinated and connected.
Although there are aspects of this production that could be smoother, and it could benefit from placing less emphasis on the physicality of the open relationships and more on why those relationships exist in the first place, The Hidden Dangers Of Camping weaves together some genuinely compelling themes. Supported by exceptionally strong performances and believable relationships between the cast, it leaves the audience reflecting on the choices people make and the lasting impact they have on those around them. It is ultimately a story about living with the consequences of the choices we make, finding a way to move forward without repeating the same mistakes of the past, and learning to forgive those we love while holding on to the relationships that matter most.
The Hidden Dangers Of Camping plays at Theatre Royal Windsor until 25th July. Tickets from https://theatreroyalwindsor.co.uk/camping-26/