Lynn Faces, New Diorama Theatre Review
Written by Danai for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Lynn Faces at New Diorama, written by Laura Horton, brings together the recently formed punk band Lynn Faces, consisting of three band members and a mysterious drummer. The story centers around Leah (Madeleine MacMahon), who seems to be the heart and soul of the group. It was her idea to form a punk band and perform live before turning 40. Ali (Peyvand Sadeghian) and Shonagh (Millie Faraway) come on board, with Ali being a dear friend of Leah’s—just as she’s recovering from a toxic relationship—and Shonagh joining because she simply doesn’t want to disappoint the already heartbroken Leah. The fourth member, Joy (Laura Horton), is a drummer they’ve never met, but she shows up unexpectedly, sitting at the drum kit and playing a significant role in helping Leah confront the reality of the situation she’s been trapped in.
I really enjoyed the punk aesthetics and references in this show—from the jokes to the genuine love for the genre. The rebellious tone of punk rock fits perfectly with Leah’s journey—not only to break free from a toxic relationship but also to face the painful truth that it was an abusive one. Leah’s struggle to embody this punk rock persona she’s trying to create for herself, while also being terrified and traumatized, is both relatable and compelling. The idea of the audience essentially being a part of the band’s unrehearsed gig adds a unique layer to the narrative. The whole show unfolds as a gig, which is brilliant and original. Viewers become invested not just in the unfolding story but in the band’s next DIY song as well. Jessica Daniels' direction enhances the feeling of spontaneity and DIY energy the show needs, and all the performers bring something special to the stage, each for different reasons.
The music is a game-changer, giving the piece a much-needed punch and taking it to new heights of originality. Several moments stand out—Joy’s entrance, Lynn Faces’ cover of Killing in the Name of, the crochet cow, and the interactions with the audience. These moments keep the show from feeling repetitive, moving away from the familiar pattern of the band members discussing Pete, Leah’s toxic ex who she can’t seem to fully let go of, despite his abusive behavior.
The band name and the show’s title are inspired by Lynn Benfield, the assistant character from Alan Partridge, who is often overlooked despite her importance. Leah decides to form a band named after her, capturing the essence of the faces Lynn makes—expressing emotions that aren’t easily put into words. There’s a sense that Leah, by forming this band, is trying to express something deeper than just heartbreak from an everyday breakup. This becomes evident in the song Snazzy Cardigan, which might sound humorous due to its quirky lyrics, but at its core, it’s about emotional suppression. The play strikes a fine balance between the serious and the lighthearted, capturing the authenticity of this raw, unpolished band. Madeleine MacMahon perfectly embodies Leah’s awkwardness and vulnerability, while Peyvand Sadeghian and Millie Faraway bring contrasting energies that create a dynamic stage presence.
One concern I had was whether audiences unfamiliar with Alan Partridge, 70s punk rock culture, or other references might feel left out. But perhaps that’s part of the charm—there’s something for everyone to discover or learn.
Overall, Lynn Faces stands out among the many shows in London. It’s a creative, bold narrative about trauma and finding the strength to leave an abusive relationship. One of the most poignant moments is when Leah narrated her brief meeting with Viv Libertine after a panel discussion. Albertine encourages her to read her book and reflect on her own experience. While the show seems, on the surface, like a fun, chaotic ride, it’s also a beautiful exploration of pain. And as Albertine wrote in this very same book, "You can tell how much pain someone is in by watching them laugh." This show blends laughter and pain seamlessly, creating something truly original.
At New Diorama Theatre until 1 March 2025
★ ★ ★ ★
