Welcome to Pemfort is a new play running in one act at approximately 90 minutes, and every bit as intriguing and unusual as its title suggests. Set entirely in the gift shop of a struggling countryside castle (or fort, if you prefer 😉), it explores themes of rehabilitation, community, honesty and personal history through its four characters: Glenn, Ria, Kurtis and Uma.

As the staff prepare for their first “Living History” event, which is sure to be a truly momentous occasion, the arrival of a new team member, Kurtis, subtly unsettles the dynamic. It soon becomes clear that he is attempting to reintegrate into society following a prison sentence, setting the tone for a story that is as thoughtful as it is quietly compelling.

There’s an almost tranquil quality to the production at times; a sense of calm, routine and gentle humour, but this is laced with an underlying tension that never quite disappears. Ed Madden’s intelligent direction ensures the atmosphere feels peaceful on the surface, yet something is always bubbling just beneath it. This is beautifully supported by Alys Whitehead’s design: a detailed, carefully observed set that feels entirely authentic, as though lifted directly from a real countryside gift shop.

Max Pappenheim’s use of sound and music is also particularly effective in reinforcing the mood. Subtle transitional moments, rather than full scene changes, gently mark the passage of time, accompanied by music that enhances the sense of stillness and reflection. Layered with the ambient sounds of the countryside – birdsong drifting in from outside the shop – it creates a world that feels both grounded and quietly immersive. Kurtis’ arrival introduces a subtle shift; he feels, at least initially, like an interloper in an established, comfortable world.

The performances across the board are excellent. Ali Hadji-Heshmati’s Glenn is a particularly striking presence; the portrayal is incredibly precise and deeply observed, capturing a character who experiences the world in a distinctly different way to others, without ever feeling overstated. Debra Gillett’s shop manager Uma brings warmth, kindness and a slightly new-age sensibility to the piece, a steady, reassuring presence who holds the group together. Ria, who becomes central to the unfolding story, is played by Lydia Larson with a natural ease and openness that makes her both relatable and emotionally engaging.

Sean Delaney as Kurtis, however, is the standout. Quiet, withdrawn and initially unsure of himself, he gradually reveals a depth of character that is both compelling and deeply sympathetic. As his story unfolds, the audience is drawn into his experience – his shame, his remorse, and his attempt to rebuild himself. A key monologue, delivered with remarkable control, is one of the most powerful moments in the play. There is no overplaying; just a careful, honest build that lands with real emotional force. When his voice finally cracks, it is genuinely heartbreaking, and the room feels completely still.

Sarah Power’s writing itself is hugely impressive. There is a quiet confidence to it, a willingness to let moments breathe, to allow characters and relationships to unfold naturally without forcing resolution. The dialogue feels authentic and uncontrived, and the dilemmas faced by the characters are drawn with a striking sense of realism and proximity. Running alongside the central narrative is a subtle but effective metaphor involving a deer; a creature in need of help, but difficult to approach. It’s a clever addition by Power and a gentle, almost symbolic thread that mirrors the play’s wider themes: the desire to help, the instinct to hold back, and the limits of what we feel able to accept or overcome. It’s handled with a light touch but adds a layer of quiet poignancy to the piece.

At its core, this is a play about honesty, about the courage it takes to tell the truth, and the consequences that truth can carry. As the relationships between the four characters evolve, the piece begins to pose a series of quietly challenging questions. Can a person ever truly be reformed? How far are we willing to go in offering forgiveness? And what happens when our principles come into conflict with our personal happiness?

These questions are never resolved easily. Instead, the play allows the tension to sit and deepen, inviting the audience to engage with the moral complexity of the situation. There is no neat resolution here and that feels entirely intentional.

Without giving too much away, the final stages of the play take an unexpected and deeply affecting turn. What might resolve simply instead becomes something far more complicated and far more honest.

This is a slow-burn production, but one that rewards patience. Thoughtful, well-directed and beautifully performed, it’s a piece that lingers, not because of spectacle, but because of the questions it leaves behind.

UTS Rating:  🎭🎭🎭🎭

Welcome to Pemfort continues at the Soho Theatre until Saturday 18th April with a few tickets left here: Welcome to Pemfort – Soho Theatre