Get our free email newsletter with just one click

Lose Yourself review at Sherman Theatre, Cardiff – ‘gripping exploration of celebrity’

Gabrielle Creevy and Aaron Anthony in Lose Yourself at Sherman Theatre, Cardiff. Photo: Mark Douet

Katherine Chandler’s play is, for the most part, a gripping three-hander. Three people’s lives hurtle towards the sweet release of a booze-filled night out. Only it’s a night out that will have life-changing repercussions for all.

Chandler and director Patricia Logue ramp up the tension, a foreboding sense of menace hanging over what is, at times, an enjoyable watch.

Josh (Tim Preston) seemingly has the most to lose as a young professional footballer with an injury that threatens his career before it’s really started. He’s a working-class lad who knows he has no plan B.

Aaron Anthony plays lecherous star striker Nate with the chilling confidence of a man who’s never been told no – he’s utterly confounded when a young mum confronts him for stroking her bum in a cafe. But it’s Yaz (Gabrielle Creevy) we’re drawn to most, recently turned down for a job on a beauty counter, despite her level-2 NVQ certificate. The excellent Creevy, in her first professional stage role, imbues her with a sensitivity that betrays her tough-girl exterior, her expletive-filled monologues lurching from the lascivious to the lyrical.

For all the fizzing one-liners, Lose Yourself’s earthy humour is inevitably consumed by darker forces, with Nate’s actions – a relic of the pre-#MeToo age – leading all three characters into an abyss (and yet, one feels, Nate will be the only one to climb out). It’s a nuanced, moving play that draws on recent real-life cases but offers an insight without the tabloid hyperbole.

Playwright Katherine Chandler: ‘Welsh work can be brutal – but it reflects what’s happening here’

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
Tense and gripping exploration of aspiration, opportunity and celebrity