Mass ⭐️⭐️⭐️⭐️⭐️
- Jack Stevens
- 7 hours ago
- 3 min read
In a quiet room at an Episcopal church, two couples meet for a conversation no parent should ever have to face. As defences fall away and memories surface, they attempt to reach across a divide carved by violence. Fran Kranz’s devastating play explores grief, forgiveness and the impossibility of understanding the unimaginable.
There are some plays you watch, enjoy, applaud politely and then immediately forget the second you reach the Tube station. Mass is not one of those plays. This is one of the most emotionally devastating pieces of theatre currently playing in London, and quite honestly, by the end, there was not a dry eye left anywhere in the Donmar Warehouse.
Direction by Carrie Cracknell is wonderful. Despite most of the action taking place around a single table, the production never once feels static or visually dull. Cracknell understands that in a play like this, the smallest movements can say absolutely everything. A glance across the table, a hand slightly withdrawing, a pause before speaking. Every subtle moment feels painfully real and deeply human. The naturalism throughout the production is astonishing, and the tension quietly bubbling underneath every conversation keeps you completely gripped from beginning to end.
Lighting by Guy Hoare is subtle, restrained and incredibly effective. It never tries to draw attention to itself because it absolutely should not. The lighting gently shifts throughout the day, creating subtle tonal changes that quietly influence the mood without ever feeling theatrical. It feels believable, grounded and emotionally truthful, which is exactly what this production needs.
Set and costume design by Anna Yates work beautifully together. The costumes instantly establish different backgrounds and social classes without the characters ever needing to spell it out through dialogue. That visual storytelling quietly works in the production’s favour throughout. Everything about the design feels authentic and lived-in, helping the audience settle into the room's uncomfortable intimacy almost immediately.
The book by Fran Kranz is extraordinary. I genuinely thought I had seen emotionally charged theatre before, but Mass operates on an entirely different level. This is a script completely unafraid to confront its subject matter head-on without softening the edges or hiding behind theatrical gimmicks. It dives deeply into grief, guilt, forgiveness and blame with brutal honesty, yet never feels exploitative. Every conversation feels painfully real, and the writing keeps you emotionally invested throughout. There is no melodrama here, no manufactured sentimentality, just raw human emotion presented with devastating precision.
Performance-wise, Adeel Akhtar as Jay delivers acting at its absolute finest. The emotional depth in his performance is astonishing, yet it never once loses its grounding in realism. Every reaction feels truthful, every silence loaded with emotion. It is one of those performances where you completely stop seeing an actor and believe you are watching a real person trying to survive unimaginable grief.
The same can absolutely be said for Lyndsey Marshal as Linda. Alongside Akhtar, she delivers one of the most emotionally affecting performances currently on a London stage. The naturalism from the entire cast is remarkable, but these two performances in particular leave a lasting impact. Nothing feels forced or overplayed, which somehow makes every emotional moment hit even harder. The performances' honesty is what makes the production so utterly devastating.
What makes Mass so remarkable is that it achieves extraordinary emotional impact without relying on spectacle. There are no huge set changes, no dramatic effects and no grand theatrical flourishes. It is simply brilliant writing, intelligent direction and phenomenal acting combining to create one of the most emotionally powerful evenings you are likely to experience in a theatre.
Mass is currently playing at the Donmar Warehouse until 6 June 2026.
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