Writer: Farah Najib
Director: Jess Barton
After the cast semi-reassures us, or perhaps ambiguously suggests, that what we are about to witness is partly true, we are introduced to Laurel House, ‘a small residential block’ in ‘an unremarkable corner of London’. The narrative begins with Linda, who notices a sickly-sweet smell of meat. What unfolds is a collective portrait of unease, as various neighbours attempt to determine the source of the stench which appears to emanate from number 61. This is not a story driven by what but how, as there is a slow accumulation of denial, frustration and inertia as the residents’ year-long battle with a housing association plays out, inching them towards an inevitable conclusion.
Caitlin Mawhinney’s design provides a grounded base with suspended dried flowers, a green sofa, wooden furniture and earthy-toned costumes. Within this framework, Peter Small’s lighting and Duramaney Kamara’s composition work in close dialogue to articulate shifts in time, place and emotional register. Small’s manipulation of colour through the flowers helps shape the atmosphere of each moment, while Kamara’s soundscape anchors us both physically through recognisable environmental sounds and psychologically, reflecting the inner lives of the characters.
Sam Baker Jones, Safiyya Ingar and Marcia Lecky form a finely attuned ensemble. Individually, they slip in and out of capturing the essence of each character with remarkable clarity and precision and collectively, they share the storytelling with a generosity that allows the narrative to flow seamlessly between perspectives. Their easy rapport extends beyond the stage, forging a warm connection with the audience. Jess Barton’s direction makes astute use of this chemistry, employing constantly shifting staging to maintain momentum and to render each character’s viewpoint visible in a way that feels expressive.
Maggots ultimately foregrounds questions of communal responsibility within the loneliness of London. By centring denial as a shared human response, the production probes how far we are willing to look away when discomfort threatens. Charming in the delivery of this disturbing topic, the play lingers much like the sickly-sweet smell it so vividly evokes.
Runs until 28 February 2026
