Sheila’s Island by Tim Firth sees four middle managers stranded on an island in the Lake District’s Derwentwater when a team building exercise during a company away day goes wrong.

The Little Theatre is transformed into the misty island through Steph Nicholls’ stunning set design (with Dave Towers in the scenic workshop). Gorgeous trees with gnarled trunks reach out of the grassy ground high into the theatre’s rafters and rocks spill out onto a sandy shore. Hillocks and nooks bring texture to the space which makes use of the full depth of the stage. There’s even a place in the trees for the actors to sit. I’ve had the good fortune to see many shows at The Little Theatre and this may be the best set design to date.

The set is further enhanced by the use of fog which evokes a feeling of isolation. This is complemented by clever lighting design by Andy Crooks, which effectively signposts the time of day throughout as well as the weather conditions, bringing a strong sense of immersion to the play.
All this gorgeous design work is made full use of by the talented cast who, one-by-one, emerge dripping wet on the island at the start of play.

Each of the four middle-managers are expertly drawn by their respective actors: There’s the well-meaning but often ineffective team leader, Shelia (Alfi Levy); the somewhat out-of-touch Julie (Kat Seddon) who has all the gear and no idea; the sharp-tongued and increasingly dislikeable Denise (Mary Delahunty) who loves to ‘joke’; and then there’s the nature loving Fay (Kathryn Lenthall) who recently found faith.

The situation they find themselves in exposes their deep-rooted flaws and strengths. In this way, the play becomes something of a character study, exploring how different personalities clash, complement and evolve with each other in times of crisis. They each have their own neuroses that are laid bare and examined throughout.

This is enabled by all four cast members having a deep understanding of their characters and what makes them tick, drawing upon this to form believable three-dimensional humans rather than just sketches. The interpersonal relationships are equally well understood, heightened by a strong chemistry between the actors which translates into an engrossing watch for the audience.

Although this is a character-led play, it is also incredibly funny. In part this is down to Firth’s strong script, but it is more down to the believability of the cast’s performance. This, alongside their comic timing, means the humour is delivered with wit and pathos.

Delahunty’s delivery of Denise’s jokes is excellent and pairs well with Seddon’s portrayal of Julie’s inability to make jokes. Lenthall draws strong laughs from Fay’s wide-eyed view of the world, often forgetting what she’s meant to be doing because she’s seen an interesting bird. And Levy extracts humour from Shelia’s near endless patience in trying to hold the whole group together.

The humour is there from the off with an in-world announcement to turn off your mobile phones. This fun touch sets the tone for the rest of the play and adds an extra level of immersion.

Jane Towers’ direction ensures the play progresses with sufficient pace to keep things moving, whilst allowing both the comedic and more serious thematic elements of the play space to breathe.

A strong cast, excellent direction and stunning set design combine to make Shelia’s Island an absolute joy of a play and a must watch.