ROTUS Review: Strong Central Performance, Looser Narrative

★★★☆☆ 

The Park Theatre has a warm, off-West End feel that suits the intimacy of ROTUS particularly well. With a minimal set consisting of a white desk and a wheeled office chair, the production keeps the focus firmly on performance rather than flashy sets or props.

The play follows the story of the receptionist of the United States of America, Chastity Quirke, charting how she arrived in the role, gained the trust of those around her, and ultimately became a sacrificial figure within the system she served. It poses the question: are you a girls’ girl, in with the lads, or simply… replaceable?

Leigh Douglas’s writing opens strongly, delivering a very funny and confident introduction that immediately draws the audience in. Douglas, who stars as Chastity Quirke, holds the room in the palm of her hand, using intense eye contact and sharp timing to create a direct and engaging relationship with the audience. As a performer, she is undeniably commanding and consistently funny.

However, the play begins to lose momentum in the middle, where the plot thins and focus starts to drift. What begins as a tight, funny, controlled piece becomes less assured, with ideas introduced but not fully developed or fully executed. A song towards the end (written by Sarah Hester Ross) feels unnecessary, adding little to the narrative or emotional impact and interrupting the flow at a crucial moment.

Director Fiona Kingwill clearly understands Leigh Douglas’s humour, and the two work well together to get the best out of Douglas’s writing.

Overall, ROTUS showcases a funny and commanding performer, but the writing does not always sustain the strength of its opening. While the concept is engaging, the piece would benefit from greater narrative clarity, allowing Leigh Douglas’s writing and performance to shine even more strongly.

Review by Mark Wood

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ROTUS

Venue - Park Theatre

Dates - Until 7th February 2026

Tickets available here