Donbas – Theatre503, London

Writer: Olga Braga

Director: Anthony Simpson-Pike

Set almost entirely inside a family home in Donbas, Ukraine, in the lead-up to the full-scale Russian invasion of 2022, Donbas follows a small group of friends and family as the impending invasion begins to fracture their relationships. Everyday disagreements quickly take on higher stakes, as nationalistic loyalties harden and survival becomes a practical concern rather than an abstract one.

Donbas arrives as a solid, well-constructed piece of political drama. Earnest, carefully shaped, and attentive to its themes. Olga Braga’s writing feels deliberately old-fashioned in its architecture. Every beat lands where expected, and each emotional turn is clearly signposted. The central ideas are introduced, developed and resolved with methodical care. There is something almost classical in its commitment to structure, and if the writing occasionally lacks surprise, it compensates with clarity. In an era of fragmentation and formal experimentation, this straightforward dramaturgy feels both reassuring and faintly conservative.

Length proves a more tangible issue. The narrative begins to circle itself in the later stages, and certain scenes feel more illustrative than essential. The sequences between Dimitry (Philippe Spall) and Alexei (Jack Bandeira), in particular, could be lost entirely without compromising the narrative or emotional stakes. While Spall and Bandeira execute these moments with professionalism, their portrayals lack the same immediacy found in their depictions of Seryoga and Sashka, respectively. Bandeira’s Sashko is the beating heart of the play, vigorous, impulsive, and sharply defined. There is an urgency to the performance that cuts through the play’s more didactic passages, grounding the politics in something recognisably human. Ksenia Devriendt brings a raw emotional clarity to Nadya, embodying the domestic and psychological toll of war with an adolescent fire. Together, these performances provide the production with its most affecting moments.

The direction by Theatre503 Artistic Director Anthony Simpson-Pike injects dynamism into the script. Naturalistic exchanges are offset with heightened theatrical flourishes, and the staging frequently shifts rhythm to prevent stagnation. There is clear care in shaping performances, drawing out detail while maintaining forward drive. The design (Niall McKeever) complements this approach; the shifting lights (Christopher Nairne) are always alert to the atmosphere, and the naturalistic sounds of war (Xana) mix with music in a way that is satisfying and coherent with the rest of the design and directorial decisions. What emerges is a production that honours its material while gently exceeding it. 

Donbas offers a thoughtful, well-acted exploration of conflict that privileges structure and sincerity over innovation. It may not radically reimagine political theatre, but it delivers its story with conviction and care.

Runs until 28 February 2026