Storms, Maybe Snow | Seven Dials Playhouse

Storms, Maybe Snow, which is written and directed by Miranda Lapworth, is a drama that explores the fragility of relationships and the importance of meaningful connections when a family is faced with a series of unfortunate events. The play is filled with poetic imagery and emotional dialogue, yet it never quite settles into anything substantial that fully draws the audience in. 

Lou and Jack, an older married couple, are just beginning to settle into their beach home following a recent diagnosis that Lou has cancer. The couple, comfortable and familiar, are continually bickering about Lou attending chemotherapy alongside their hopes and fears for their future together. Their daughter Marianna and her partner Isobel visit to celebrate Jack's birthday, and this is when the play really gets going. Marianna, for an unspecified reason, detests Lou and forever aims to put her down by pointing out her flaws and shortcomings, despite Jack and Izzie's protests. The family relationship is fraught, although Marianne and Jack have a sweet relationship. However, when an incident occurs leaving the mother and daughter to confront everything they were hiding from as old secrets are revealed, the play takes on a more dramatic tone, as the (metaphorical) storm comes in. 

Storm, Maybe Snow is an ambitious and promising play that works really well on page, yet this doesn't necessarily translate as well to the stage. The play has a rich core subject; a family dynamic that is layered with years of neglect and secrets riddled throughout, with three very different personalities clashing. This allows for a dramatic build up in tension, and a satisfying sentimental emotional arc that the play technically does achieve. However, it's plagued by about fifteen other plot points that are each quite significant yet are shovelled atop one another in an attempt to liven up the show and create plot twist after plot twist. Most notably is Lou's cancer; which feels like it's almost doing the heavy lifting task of making audiences want to root for Lou. It's a simple strategy that may have worked, yet is conveniently forgotten for significant portions of the play. Izzie's own trauma from an abusive childhood and how it's shaped her current outlook on life, the secrets revealed in Jack's journal, the history between Lou and Marianna and many more, are each teased yet ultimately don't quite push the narrative along. 

The play oddly has a long runtime of over two hours and yet these topics are glanced over, instead choosing to favour a repetitive word game played by Jack and Lou. Whilst it does make for a sweet moment in the climax, the play dedicates far too much time to this game that allows for clever wordplay, but nothing of meaningful value to the actual story itself. In fact, the repetitive nature of the game as well as Marianne's grievances with her mother, makes the two hours feel longer and loses the audience along the way. 

This isn't to say that the script isn't good; there are several beautifully written scenes that showcase Lapworth's writing, most notably her ability to capture an unspeakable grief in such poetic language. Lapworth's writing makes for several compelling moments that will no doubt strike a chord with anyone who has ever felt loss or loneliness. However, in the grand scheme of the play, these moments are overshadowed by the constant flow of plot points. Scene transitions tend to also create distance from the play with awkward shuffling by the tech team to reset for the next scene in extended portions of darkened silence.

The four performers give it their all, but the script doesn't really provide much more than a fixed stance for each character. Neil Sellman's calming presence is lovely and brings warmth to the frigid tension on stage, with a charming performance. Jenny Lloyd Lyons does well as stubborn Lou, but really shines in the smaller moments of heartbreaking vulnerable towards the show's climax. Steph Sarratt brings an active and exciting energy as Marianne, as the ever prickly daughter. Sarratt convincingly plays the quietly traumatised child, and the pent up anger that's fuelled the family from childhood, with an impressive fury; making her rare moments of joy with Izzie even more admirable. 

Sarah Cameron-West steals the show as Izzie; ironically the only one not actually a part of the Morley family. Cameron-West is everything the play wants and needs. She's feisty, she's funny, she's fantastic. Izzie, who is the show's best written character, ends up picking the pieces of the shattered family bonds, and injects love, light and laughter back into the family's lives as she lives boldly by her own moral compass. Izzie's original song (music by Ward Baker and lyrics by Lapworth) for Marianne allows Cameron- West to demonstrate her vocals, along with a more heart-wrenching reprise. 

Sarah Spencer's sound design includes gentle waves crashing, rain pouring and dogs barking adding to the authenticity of the piece, and also places it in a calmer pacing. The set is well designed, replicating Lou and Jack's beach home, making it feel really cosy and lived in. 

Storms, Maybe Snow is a beautiful piece of writing but needs a little more assistance with adapting it to stage.

Storms, Maybe Snow is currently playing at Seven Dials Playhouse until 20th September 2025.

Tickets and More Information

★★☆☆☆ (2*)

Gifted tickets in return for an honest review | Photography provided by Distrikt London PR