Stones in His Pockets
Performed at Lewes Little Theatre between Saturday 31 January and Saturday 7 February, was an exceptional example of how theatre can be simultaneously entertaining, challenging, and deeply humane. This production not only showcased remarkable acting and technical skill, but also offered a thoughtful exploration of identity, exploitation, friendship, and the tension between global forces and local lives.
Under the assured and sensitive direction of Simon Hellyer, Marie Jones’s celebrated two-hander unfolded with clarity, pace, and emotional intelligence. Hellyer’s direction struck a careful balance between the play’s broad comedy and its darker undercurrents, allowing the humour to flourish without ever trivialising the serious themes that sit at the heart of the work. The result was a production that felt both joyful and poignant, inviting laughter while quietly asking the audience to reflect on the cost of progress, fame, and cultural commodification.
At the centre of the production were two extraordinary performances from Cody Thacker and Daniel Sennett, who together inhabited all fifteen characters with astonishing precision and energy. The sheer athleticism and concentration required to switch seamlessly between characters was impressive in itself, but what truly elevated the performances was the depth and individuality given to each role. No character felt like a caricature or a shorthand joke; instead, each was vividly realised, with its own rhythm, physicality, and emotional truth.
Their portrayals of Jake and Charlie formed the emotional backbone of the play. As ordinary men swept up in the chaos of a Hollywood film descending on their rural Irish community, both characters embodied the hopes, frustrations, and quiet disillusionment that run through the narrative. Their friendship — tender, fractious, and ultimately heartbreaking — was handled with great subtlety, grounding the production in genuine human connection.
Beyond these central roles, both actors delivered a gallery of memorable characterisations. Cody Thacker’s Caroline Giovanni was a particular highlight, with the exaggerated glamour and hilariously brazen seduction of Jake drawing roars of laughter from the audience. Yet even in its comedy, the performance hinted at the artificiality and absurdity of the film industry’s intrusion into the local landscape. In contrast, Daniel Sennett’s Aisling, constantly attempting to marshal and control the film extras, was a masterclass in comic frustration. Her relentless energy and sharp delivery provided some of the play’s funniest moments, while also underscoring the dehumanising nature of the production machine that reduces individuals to background noise. Both actors steered us cleverly through the story, adopting each character with subtle but effective movements to signify changes which made for seamless transitions and not loss of pace and energy.
One of the production’s great strengths was its visual and technical simplicity, which placed storytelling firmly at the forefront. Costume changes were executed live on stage by the performers themselves, a bold and effective choice that enhanced the play’s sense of theatricality and momentum. Costumes supplied by Susie O’Hare and Kirstine Bowen from the theatre’s wardrobe department were cleverly designed to allow swift transformation, helping the audience instantly recognise each character while celebrating the ingenuity of the performers.
The technical support from Paul Carpenter, overseeing both lighting and sound, was understated yet vital. Lighting shifts subtly marked changes in mood, location, and pace, while sound cues were precisely timed to support both comic beats and moments of emotional weight. The technical elements never overwhelmed the performances, instead working in harmony to create a cohesive and immersive experience.
A particularly evocative addition to the production was the inclusion of live Irish music, which helped root the play firmly in its cultural setting. Music in the foyer before the show and during the interval created a welcoming, communal atmosphere, blurring the line between audience and performance. The flute rendition of “Danny Boy” before the start of the second half was especially moving, setting a reflective tone that gently prepared the audience for the more serious emotional terrain ahead.
While rich in humour, Stones in His Pockets does not shy away from darker subject matter. Themes relating to the Troubles, economic hardship, cultural erasure, and suicide were handled with notable care and sensitivity. The production allowed these moments space to breathe, trusting the audience to engage with their emotional complexity rather than rushing past them. Importantly, these heavier themes were never presented in isolation; they were woven seamlessly into the fabric of the story, underpinned by well-judged comedic moments that reflected the resilience and wit of the characters themselves.
Ultimately, this production succeeded because it understood the heart of the play: that comedy and tragedy are not opposites, but companions. Laughter became a means of survival, a way of coping with loss, change, and disillusionment. In capturing this truth, the cast, creative team, and technical support delivered a performance that was both entertaining and profoundly affecting.
Stones in His Pockets at Lewes Little Theatre was a triumph — a celebration of storytelling, community, and the transformative power of theatre. It stands as a testament to what can be achieved with imagination, dedication, and trust in the strength of the material, and it has undoubtedly earned its place in the theatre’s proud and continuing history.
Thomas Ball – February 2026