Writer: Andy Sellers
Director: Adrian Greensmith
Werewolf Sighted in Port Talbot is a quirky, mild-horror play that highlights Billy and Ffion’s relationship as they learn to live with a peculiar condition that sets them apart.
They are introduced as a normal couple at first, out for what we think is their first romantic camping trip in Wales. We later learn that when Ffion turns, she’s ‘one of them’ – a ‘sacred’ member of an interesting circle.
The stage is set with an empty tent centre stage, and hues of red light reflect across the surroundings, which instantly foreshadow danger to come. It’s silent; all you can hear is the hooting of owls. A woman’s voice is heard recording something for someone, a scream follows, and a blackout. The two actors enter.
At first, Billy (Andy Sellers) is cheerful, but Ffion seems distracted by her thoughts. Billy tries to take her mind off it by telling her that he has done GCSE astronomy and can identify constellations such as Orion’s Belt in the clear sky. They laugh it off. We gather that the location is isolated, and there is no signal in sight.
As the story develops, we learn that Ffion turns into a werewolf once a month on a full moon, which just so happens to be the night they’re camping together. She has never shown this transformation to Billy. He is curious, even bold enough to request that she turn him into a werewolf, too. But Ffion is totally against it and instructs him to stay in the tent until dawn.
This satirical scene cleverly uses the absurdity of her first-time transformation in front of her new boyfriend to explore themes of trust and vulnerability within a young relationship, adding humour to what could have been a purely dark moment. At one point, Billy mentions vampires, and Ffion refers to them as “the enemy”. From a contextual perspective, this is amusing for those with knowledge of folklore and myths.
Each scene change is marked by a blackout and a sinister soundtrack that recurs throughout the play. This works really well with the plot, as each scene develops from the previous one.
Lucy Havard, who plays Ffion, displays her subtle conversion into a werewolf through impressive physical movement. It is very realistic; every twitch and grunt looks like a full moon ritual unfolding in real time. She is just missing some fur and claws.
As midnight is approaching, Ffion is at the peak of her conversion when a mysterious lady, Catherine (Jenny Wall), shows up with a bleeding hand, which instantly triggers Ffion’s empty belly. She’s twitching and pretends to be normal, but Catherine isn’t bothered by this and overstays her welcome.
The play ends in a surreal way. It is 8.37am, Ffion’s hands are red, and they both just stare at each other in silence before the final blackout.
Runs until 28 February 2026
