Prepare to be both horrified and intrigued as Stone Age cannibals get a modern makeover in *The Sheads at the Royal Court Theatre**—a play that’s as thought-provoking as it is unsettling. But here’s where it gets controversial: what if the line between barbarism and civilization is blurrier than we think? And this is the part most people miss: the play isn’t just about ancient humans; it’s a mirror held up to our own society, warts and all.
Jack Nicholls’ bold debut, The Sheads, serves up a feast of ideas—both literal and metaphorical. While the characters do indulge in raw elk meat and, yes, cannibalized brain matter, the play’s true substance lies in its exploration of isolationism, storytelling, and the ideologies we inherit. Set in a Stone Age cave, the story centers on a family of three: Clare (Jacoba Williams), a capable and curious hunter; her ailing father Adrian (Peter Clements), a boorish patriarch; and Lisa (Annabel Smith), a younger sister with an infantile energy despite being played by a fully grown woman. *But here’s the twist: these ancient characters speak modern English, sport contemporary names, and even sip from a Sports Direct mug—a detail that, surprisingly, steals the show with one of the night’s biggest laughs.
The opening scene is a theatrical tour de force, as Clare hunts and kills a massive elk (brought to life by an impressive puppet) with the help of Greg (Jonny Khan), a stranger from above ground. To Clare’s family, Greg is just a “shead,” a subhuman outsider. Yet, his stories of the outside world captivate Clare—until she brutally kills him and consumes his brain. *Is this a commentary on our fear of the unknown, or a dark reflection of how we treat those we deem ‘other’?
The real drama unfolds when Greg’s widow (Ami Tredrea) arrives at the cave with her infant child (another puppet), disrupting the family’s domestic norms and prejudices. For a moment, the play teeters on the edge of becoming a dark comedy of manners, but it quickly spirals into tragedy. By blending ancient settings with modern trappings, Nicholls, designer Anna Reid, and directors Aneesha Srinivasan and David Byrne create a work that’s less about prehistoric life and more about the timeless psychologies that drive us. But does this risk reducing the characters to mere symbols? Thankfully, no. Each character is crafted with enough care and specificity to feel real, not just representative.
The dialogue is a standout—a peculiar mix of crude and erudite, ancient and modern. It’s the larger-than-life characters, like Clements’ gruff patriarch and Smith’s squeaky, peppery child, who truly shine. The puppeteers, led by Scarlet Wilderink, also deserve praise for their expressive work. While The S*heads doesn’t always hit its comedic marks, it’s a confident, punchy, and dramatically substantial piece of theater—exactly what you want from a new original work.
As part of the Royal Court’s buzzy winning streak, The Sheads* is no outlier. It’s a play that challenges, entertains, and leaves you questioning the boundaries of humanity. **So, here’s the question for you: Is *The Sheads a brilliant commentary on our modern world, or does it bite off more than it can chew? Let us know in the comments.**
‘The S*heads’ is playing at Jerwood Theatre Upstairs at the Royal Court until 14 March.
