From an audience point of view, Entertaining Angels is a character study that depends heavily on the strength and subtlety of its performances. The central character of Grace was played with real quality and charisma by Michelle Lockwood, who bore a striking resemblance to Alison Steadman in both presence and manner. Her sister, Ruth, played by Joanna Bircher, was delivered as a delightfully ditzy, slightly neurotic missionary figure, with plenty of well-judged humour and puns woven through her dialogue. Beneath that comedy, however, sat a backstory that gradually bubbles to the surface following the death of Grace’s husband, Bardolph (Bardy), played by Martin Wadsworth.
Grace’s daughter, Jo, played by Hannah Combs, brought a more severe and serious energy as a clinical psychologist, initially positioned as the pragmatic counterpoint to the rest of the family, before ultimately becoming the emotional mediator of the piece as it unfolds. The incoming clergyette, Sarah, played by Michelle Cook, was portrayed with a calm serenity and a quietly diplomatic presence, and also carries a carefully revealed backstory that is teased out slowly and brought into alignment by the end of the play.
It is a very cleverly constructed piece, and this was matched by thoughtful direction from Gerard Lennox. There is a particularly strong moment at the start of Act 2, set in the garden, where the ensemble is arranged in a way that feels almost painterly—each character positioned within their own emotional space, yet collectively forming a cohesive whole. It gives the impression of a carefully composed painting, with each figure contributing to a shared narrative journey.
Added to that is a strong sense of design throughout the production, particularly the striking radial patio outside the vicarage, set against a finely manicured lawn, which is introduced immediately by Ruth as she busily and rather neurotically mows it into precise diagonal stripes. The atmosphere is further supported by thoughtful lighting and some well-executed painted flats, all of which help establish a clear sense of place.
Sound was generally effective, although there were moments in Act Two where clarity became slightly inconsistent; we even moved seats at one point to get closer to the action, and there were comments from some audience members who struggled to hear, despite the actors being mic’d. That aside, it remained a very enjoyable afternoon.
Overall, it is certainly worth seeing again, and GBT do a very strong job with Entertaining Angels, supported by a clear directorial vision from Gerard Lennox. The production lands many genuine laughs, often drawn from theological humour and well-judged clerical quips and puns, while still allowing the deeper emotional undercurrents of the piece to emerge.
Reviewer - Kathryn Gorton
On - 2nd May 2026
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