Lifers | Southwark Playhouse

Lifers, which is written by Evan Placey and directed by Esther Baker, is a hard-hitting play about the realities of the prison system. Produced by Synergy Theatre Project, the play highlights the limitations of those currently serving time; carefully breaking down preconceived notions of a black and white world. Focusing on the "Lifers" or older men in prison, the play further examines how aging with dignity is often denied. 

Lifers meets Lenny (Peter Wight), a 75 year old in Drummond Prison who struggles to have his health complications taken seriously. With frequent lapses in his memory, a bad leg that requires him to use a walker, and a nasty temper in random bursts, Lenny's plight would be pitiable if not for the close company he keeps. Fellow lifers, Baxter (Ricky Fearon) and Norton (Sam Cox) fill his days with endless poker games, even if the latter often tries to take advantage of Lenny's failing memory to be the eternal winner. However, Lenny's greatest ally is young prison officer Mark (James Backway) whose naivety along with his good nature often compels Mark to go above and beyond in his duty. The cast is rounded off by Sonya (Mona Goodwin), the prison nurse who unintentionally becomes the face of the system. 

Synergy Theatre Project is a theatre company that uses theatre to spread awareness and transform lives of those involved in the justice system. Placey's script does the mission justice, bringing a thoroughly researched and authentic play that feels as though audiences have been let through the cracks of the highly guarded prison walls. Although the play has a long and slow introduction, with the three men playing poker with little impact on the overarching story beyond achieving a comedic tone, the play ultimately draws audiences in for a fascinating watch. 

Lifers is layered with several strong plotlines and interesting characters. Lenny's declining health and his inability to comprehend what's happening, along with the later reveal of an issue that could have been prevented with earlier medical attention. The relationship between the three men, and their varying attitude towards authority and the resulting day to day consequences, as they work under the system to attain basic rights. Mark's own struggle with wanting to make the world a better place, through rehabilitation of these men, despite repeated resistance from his friend Sonya and partner. The realities of a crumbling system, and the concerning parallels with public health care. And perhaps the most poignant of them all, the growing bond between Lenny and Mark. 

Placey's writing is beautiful, often leaving audiences reeling with the impact that his words have created, along with thought-provoking reveals about the lesser known facts. Moments of dark comedy are deployed often, with audiences initially hesitant to laugh but later welcome them. There are moments of conversation between the three men that feel so offensively realistic, that it's almost unsettling to see such clear prejudice allowed on stage. The play's intention, admirably, isn't to create shock value, but speaks volumes about the unchangeable nature of those that have given up. 

The thrust staging is intimate, with the audiences quite literally trapping the performers on stage. Katy McPhee's set includes grey blocks that are used as furniture and are moved between scenes to create the best visibility, and to extend the tension between characters by placing them at odds. The reveal of the roof with the shadows of the bars overcast achieve a subtle collective audience gasp and works well. Tony Simpson's light creates a stark effect, verging on letting set pieces succumb to the shadows. Sarah Weltman's sound design does wonders for the show, with the ringing echos and the clanging of metal doors. The technical effects come together to create a space that impressively feels hollow and limited.

The performances are one of the strongest elements of the show. Goodwin, cast in two similar roles, becomes the uncaring face of the system. As both nurse Sonya Hassan and Ms. Wells, her interactions with Lenny are loud in the frustratingly empty nature of healthcare trips. Goodwin's steely nature is contrasted with her amusing anecdotes about the impossibility of modern dating, especially when working in a prison. Her loyalty towards Mark, initially admired, echoes the realities of the weary nature of their world; becoming tedious in a rather strong performance. 

Ricky Fearon as Baxter becomes a shining example of refusing to let the system break his spirit, despite the constant obstacles he faces. Allowing micro racism to wash over him, his jolly nature and insistence to prevent Norton from cheating in games brings hopes to the play. Furthermore, his months long battle to receive a better pillow, whilst sad in theory, becomes one of the show's longest running gags. Sam Cox as the insensitive Norton reeks of the privilege of a white man from a different period. That being said, Cox's performance brings a renewed and exciting energy every time he's on stage, often breaking a bleak situation with his frustrations and small moments of rebelling against prison authority. Cox's stage presence is so dynamic in an otherwise static play, that one awaits his return. 

Peter Wight as does a great job as Lenny, as he struggles to find clarity. Weighed down by the past, often recollecting a singular joyful memory of his then 7-year old son, Simian, Lenny struggles to place himself in the present most days. Wight's sharp turns as the cold man that resides within Lenny jumps out in bursts that are downright terrifying. The chilling nature of these outbursts, often result in a violent moment of physicality (towards objects, not people), but hint at his past and what placed him in prison in the first place. 

James Backway shines as Mark, with a sensitivity and caring nature that is obvious. The fragility of his empathetic nature comes through as he finds himself as equally frustrated at the system as Lenny, often placing himself in compromising positions to compensate. Despite reminders that his duty is to protect, not to care, Backway's emotional arguments are persuasive, appealing to the humanity in the audience. Mark's kind hearted nature also sees him stepping into the role of Simian, Lenny's son, a merciful and tender choice. Backway, amusingly, also embodies Simian when the character appears towards the play's climax. Backway utterly transforms in the role, almost unrecognisable so. Backway's distance as Simian towards Lenny builds to the play's most triumphant moment, along with a heartbreaking performance from both Backway and Wight. 

This moment, perfectly placed near the end, hammers home the foundation that the justice system builds upon. Can one separate the person from their actions? Can everyone be redeemed, and more so, are they worthy of the opportunity? Placey's writing leaves audiences with a more open heart and a mind racing to find answers and solutions. Lifers is a play that is thought provoking and oh so terribly good.

Lifers is currently playing at Southwark Playhouse until 25th October 2025. 

★★★★☆ (4*)

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Gifted tickets in return for an honest review | Photography by Rich Southgate