Unicorn
In Mike Bartlett's new play, Unicorn, the term refers not to a mythical creature, but the rare appearance of a single young woman who is willing to join a couple seeking to open their relationship. In oversimplified terms, this also somewhat describes what happens in the show.
With James Macdonald directing the world premiere of this production, the story follows three adults, two of whom are already married to each other, trying to navigate a relationship that fulfils each other equally.
Actors Nicola Walker, Stephen Mangan and Erin Doherty are three powerhouses onstage. They rarely move from their spots, mostly sitting comfortably on chairs or a sofa. Yet, they transform Bartlett's dialogue––which leans more towards the intellectual and philosophical––into genuine, spontaneous conversation. Unexpectedly, their three-way intensity somehow fizzles during moments of sexual intimacy.
Miriam Buether's set design situates the characters quite literally in a cocoon, using a canvas-like material. This canvas is occasionally drawn up like window blinds to accommodate for character entrances and exits within a scene. The white material is only ever tainted by intense shadows cast by Natasha Chivers' lighting design, which shifts between plain washes and intense shades.
The passage of time is demarcated by blackouts, during which sound designer Paul Groothuis' repetitive use of Harry Dacre's 'Daisy Bell (Bicycle Built for Two)' gets slightly more remixed each time it returns. While the lyrics of this particular song carries enough subtext to give the show more nuance, its melody starts to feel a little haunting after a while, especially when accommodating longer scene changes.
While the premise seems rather novel for commercial theatre and offers a rather refreshing point of view for theatre-goers who are used to traditional romances, it is worth noting that Unicorn is one of many similar queer stories already in existence, more frequently seen in independent and fringe theatre.
That being said, what makes Unicorn highly accessible is the treatment of its non-traditional relationship dynamic, which is simultaneously non-partisan and sensitive. Bartlett's focus is not so much on polyamory itself; while polyamory is very present in the story, the characters approach it tentatively like researchers in a laboratory, poring over every detail and diving into deep discussion.
Whether the focus is on married couple Nick (Stephen Mangan) and Polly (Nicola Walker), or any other combination involving newcomer Kate (Erin Doherty), Bartlett is essentially putting forth a hypothesis that love is ultimately defined by trust, honesty and generosity, regardless of who is involved and what form the relationship takes.
This show was reviewed on the 13th February 2025 at the Garrick Theatre, London where it runs until the 26th April 2025. Tickets available here: thegarricktheatre.co.uk
Review written by Penny Bao
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Photo credit: Marc Brenner
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