Adam is a good guy; he's got a nice Victorian flat, a steady job, a sense of humour and by his own admission is an attractive man.
He’s still in love with Holly, or at least he’s convinced himself he is, but it's a case of "I love you, you're perfect, now change" as this monologue slowly reveals.
Over the course of four years, their relationship had unraveled exposing their differing views on the world. Even a small age gap can make a big difference and this family man is simply further ahead on the settling stakes than his intelligent and opinionated girlfriend. It's a shame that she couldn't just compromise; after all she knows it's what he wants and she knows he's doing everything out of love for her.
Alistair Donegan is utterly charming as the injured Adam setting out his stall of explanations and completely confident in his justifications. Why did their relationship fall apart? It wasn’t really his fault of course, she didn't adapt.
Set in a nondescript office with little in the way of props and suitably clinical atmosphere, this is a deeply unsettling play that leaves a deliberately nasty taste. Camilla Whitehill’s writing is astute and insidious. You can never really know people but Adam’s a good guy right?
Reviewer: Amy Yorston