This is a hard-hitting play. Although essentially a love story, it is difficult to watch at times. It’s not the usual tale of unrequited love, but a modern-day narrative steeped in low self-esteem, anxiety, and complex backstories that shape how people interpret love. Despite being over 40 years old, the play resonates powerfully with today’s world—where feelings of inadequacy and the pressure to be attractive in an Instagram-perfect society are all too familiar. It presents two lost souls who struggle to connect, unable to communicate in a love language that either of them truly understands.
It’s a two-hander, and both actors hail from the USA. Gertie, played by Rachael Bellis, owns The Sea Horse Bar, located beside the docks in an American backwater. As the landlady, Gertie runs the bar with an iron fist—cross her at your peril. Rachael Bellis brings this indomitable woman to life with remarkable intensity. Her ferocity and hidden vulnerability ebb and flow throughout the performance, creating a character both formidable and deeply human.
Harry, played by Jay Rincon, is a worldly seafarer with grand, unrealistic dreams—schemes to make a quick buck and likely a girl in every port. Rincon strides onto the stage with swagger and confidence, portraying Harry as a man on a mission. After years at sea, he’s ready to settle down. Though he carries the bravado of a man-about-town, his vulnerability shines through. He’s no angel and has a fondness for drink, but he believes in love. That’s why we root for him. Rincon wins the audience over, even though we know he’s a bit of a scallywag—perhaps because most of us are romantics at heart. His performance is totally believable and impressively strong.
The production is held together by a talented creative team. Director Mandi Riggi was still taking notes during tonight’s performance, a testament to her dedication. Candace Leung served as intimacy director—a new concept to me, but clearly instrumental in helping the actors connect during the play’s more tender moments. The set, essentially a bar, was designed by Shahaf Beer. Sound designer Danny Taggart included a few of my jukebox favourites, and the timing was spot-on throughout. Flick Hemming, responsible for lighting and stage management, created a simple yet thoughtful setting with active movement around the space. A final nod goes to producers Mark Cheng and Vicky MacRae for bringing this revival to life.
I’m also delighted to note that the production was supported by Ruth Anna Phillips from sizeinclusivity.org, an organisation championing the acceptance of performers of all sizes. It’s a refreshing reminder that good acting comes from talent, not body type. Inclusivity should encompass size and shape, not just race and disability. This play, and its casting, reflect a more authentic and diverse representation of real people—and that’s something worth celebrating.
Running from 4th – 15th November 2025
Reviewer - Penny Curran
On - 6th November 2025
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