‘A Monster Calls’ Review: An Achingly Beautiful Journey into Grief and the Human Condition

As someone who lost their grandmother to lung cancer in 2014, ‘A Monster Calls’ hits close to home. Last Friday night, the Bloomsbury Theatre grew quiet upon entering the home of 13-year-old Conor O’Malley (Felix May) and his Mother (Olivia Ng) facing the late stages of her illness. Bullied and beaten to the ground daily in school, Conor's life loses all sense of joy as his family yearns for the good news that will finally bring their torment to an end. All the while, he awakes each night to the Monster (Jack Godwin) lurking in the family’s Yew tree who demands Conor’s attention. 

Director Lewis Long put to stage a wonderful piece of work that thrived during both its comedic highs and its deep lows. From the opening, May let out a cry that transfixed the audience to his every emotion, so much so that watching him get beaten down and tormented by school bullies (David Harrison, Tumo Reetsang, Sara Stemmons) was hard to watch. We learn that he finds only slightly more joy at home, sharing fleeting dances with his Mother that leave the tenderness of their bond in absolutely no doubt.

Godwin began his performance with his menacingly large form looming over the stage. But, slowly the audience grew intrigued by his apparent affection for Conor. Each night at 12:07, he emerges with stories for Conor and the audience - this is where the ensemble shines, who make excellent use of one another to set each new scene. Then, becoming exhilarated by the freedom of breaking the rules, and with the Monster spurring him on, Conor lashes-out at his Grandma (Leah Dawson) at the close of Act One, who leaves the audience reeling from her furious scream. 

Throughout Act Two, the story delivers its best moments. We learn of the strained relationship between Conor and his Father (Rudi Rance) which explained Conor’s pent-up rage and loneliness. Personally, I loved watching this all unravel onstage as we got to witness Conor at his lowest and most vengeful. The production’s structure in particular was well-executed to enable viewers to empathise with Conor’s suffering despite his violent actions. 

Then, there were quiet moments: a brief embrace between May and Dawson that conveyed so much emotion to the on-looking crowd. Conor and his old friend Lily (Jennifer Baron) finally reconnect with her simple line: “I see you”. At the play’s climax, we earn an explanation for all the chaos that had previously ensued via a heartfelt scene between May and Godwin. This production is a comforting and heart-breaking exploration of the impact of grief on our psyche, and the conflicting characteristics that make us the messy, yet complete people that we are. 

Overall, it’s clear that this piece was the work of a marvellously talented and dedicated group who took the stage as true professionals. In its lowest moments, it left us in tears. It imprinted on the audience a lasting lesson about self-forgiveness and the rewards of being honest with oneself. The credit for this play’s success ultimately goes to the phenomenal direction, acting, lighting and music delivered by UCL’s Drama Society. One thing’s for sure: I will be up at 12:07 any night of the week if it means I can watch it again.