Apex Predator at Hampstead Theatre
Writer John Donnelly sets the scene early on, with Mia (Sophie Melville), a worn-out mother to 11-year-old Alfie and new baby Isla, venting to her husband Joe (Bryan Dick) about their neighbour’s intrusive music. The tension between them is evident, with Joe working long hours on an undisclosed IT project, which is later revealed as tracking down vampires online after a series of local deaths. Mia grapples with her role as a mother and as a woman, but when she’s summoned to school after Alfie bites another student, Mia becomes the focus of attention of Alfie’s teacher, Ana. Ana introduces her to a supernatural world of escapism (cue the vampire antics), revealing a seductive fearlessness that Mia craves. Hungry for control over her life, Mia dives into Ana’s world, hoping to reclaim some sense of agency.
While Donnelly skilfully touches on the struggles of motherhood, postnatal depression and the evolving dynamics of relationships, the blend of genres ranging from horror to comedy to drama feels disjointed, lacking a clear focus or direction. At times, the play veers into slapstick and absurdity, while at other moments it turns dramatic and intense. This amalgamation seems to cloud the core of the story. Donnelly also scratches the surface on deeper societal issues, particularly the challenges women face in a world that often feels unsafe, with Mia responding to her doctor’s suggestion of a nighttime head-clearing walk with, “At night? Have you met any women?” This brief commentary feels like a missed opportunity for further exploration and focus.
Melville’s portrayal of Mia is the standout performance, anchoring the production and capturing Mia’s internal chaos and loss of identity with a desperate, frantic energy. While Whitmore brings a polished confidence to the role of Ana, her delivery often feels forced, particularly when discussing her enduring loneliness. Blanche McIntyre’s direction complicates Ana’s character, having her appear suddenly to rescue Mia from various predicaments. A more consistent presence could’ve strengthened the dynamic between the two. Utilising Tom Piper’s stage design by working in the industrial style scaffolding and balcony to have Ana lurking in the shadows or moving through different levels could have created a more compelling dynamic for the character, making her fixation on Mia feel even more intense.
The focus on Mia’s struggle to gain control in a turbulent, unpredictable world is the most engaging and crucial aspect of Apex Predator. Donnelly taps into resonant and universal themes surrounding motherhood, loss of identity and, at points, the daily challenges women face by just existing. It has the potential to expand on this and leave us with a memorable message, but the distraction of shifting genres means it doesn’t quite get there.
Chloe Vilarrubi
Photos: Ellie Kurttz
Apex Predator is at Hampstead Theatre from 22nd March until 26th April 2025. For further information or to book visit the theatre’s website here.
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