It’s been a long wait for a new work from Nick Payne, one of the most exciting playwrights around. Thankfully, The Unbelievers lives up to expectations; insightful, humane, dramatic and surprisingly funny, this story of a missing child is so admirably crafted, it has it all.
The mother, Miriam, played with intensity by Nicola Walker, is the focus. The action moves back and forth in time – from one week, to a year, then seven years – from the disappearance of her fifteen-year-old son.
It’s a similar treatment to Payne’s hit Constellations with a recognizably discombobulating effect. Here it is less flashy but still serves an important point. Time changes little for the mother: her fears and hopes are raw despite duration.
Different perspectives come not just from chronology but other characters, each superbly written. The diversity of reactions provokes thought and each response is credible and interesting. There are strong roles for two daughters and two ex-partners, performed by Alby Baldwin, Ella Lily Hyland, Paul Higgins and Martin Marquez. It is to director Marianne Elliott’s credit that each gets their due. And in this populous play, there are also superb cameos for Jaz Singh Deol, Harry Kershaw, Lucy Thackeray and Isabel Adomakoh Young. Each role adds, often bringing strong snatches of comedy.
It’s brave to include so much humour in a play about such a serious subject. Especially when mental health becomes a focus and grief dangerous. There are many moments when we fear for Miriam, including a brilliant scene when the time periods collapse and phrases from each weave with one another – stunning! But Payne manages to make awkward moments contain a comic edge gently. It doesn’t always work (Walker isn’t a natural comedian) but it is always clear, tames sentimentality, and makes events relatable.
With so much detail, we can see how the family, friends and the police have done everything they can, though the kid remains missing. It’s not a spoiler to say we don’t find out what happens; remember, we see events seven years after the disappearance at the beginning. Instead, Payne’s concern is to open up the topic of belief, and religion, an interesting move for a writer who has frequently explored science. Miriam alone believes her son is still alive. Is she crazy? Maybe. While those that love her focus on her, on moving on, or on the spiritual, Payne gives her credit for her belief, making the play deeply moving.
Until 29 November 2025
Photo by Brinkhoff & Moegenburg