SUTCo’s The Real Thing – 19 November 2025, Sheffield Library Theatre
Sheffield University Theatre Company’s latest production is of Tom Stoppard’s The Real Thing and is a production that would make the writer proud capturing the feel of a Tom Stoppard production and a National Theatre production on the Library Theatre stage through its superb direction thanks to David Osamudiamen and assistant director Brogan Desmond and it’s superb casting.
For those new to this play, The Real Thing first performed and set in the early 80s examines the themes of marriage, fidelity and honesty in two married couples, whilst on a whole other level is cleverly a play within a play, affairs within affairs and a writer created by a writer.
My favourite performance of the night came from Thomas Hounsell as Henry who played the role with arrogance, charm, confidence and superb chemistry with all his female co-stars and incredible stage presence. As an audience member I found myself yearning for his rare knowing looks at the audience confirming we are in on this theatrical ride with him. I don’t know how much of the role Tom Stoppard based on himself but I’m sure he would be impressed and as with his female co-stars mentioned below, Thomas would not be out of place in a professional tour of this production.
Tom Stoppard writes female roles brilliantly and the show’s female casting more than does this justice, with all the female cast bringing their powerful, passionate and confident women to life. Jess Ansbro who plays Charlotte and Bethany Collins who played Annie were superb, having wonderful chemistry with Thomas and, both heavily reminding me of actor Sarah Solemani, showed that Henry clearly has a type with their similarities (so much so that after the last scene of the first act I had to double check which had been in the scene). On a lighter note they also both had a dressing gown wearing confidence I could never equal in public.
On the subject of brilliant females, Bess Hunter who played Henry and Charlotte’s daughter Debbie had personality, confidence and a relationship with her parents that could only have existed in a middle class 80s creative family, reminding me of Sex Education’s Aimee Lou Wood (a quick mention here for Becky Foxley’s costume design as Debbie’s look would not have been out of place in the Barbie Movie as 80s Aerobics Barbie). Also in a new take that I think Tom Stoppard would approve of, one other female was cast cleverly in a traditional male role, with Billy becoming Billie in Emily Ring’s safe hands performed with the confidence, attitude and dramatics of youth.
Music does not often get a shout out in non-musical theatre but as with Henry, music and my record player provide the soundtrack for and reassurance for my life and the music choices were perfect for this production whilst also capturing the era and the stages of relationships. Bonus points for also choosing 99 Luftballons over the English translation. Backstage I must also praise the set design team for the National Theatre feeling room set, which with minimal changes reminded us that when it came to it in the 80s the middle class all aspired to the same interiors.
This production should not be missed by Tom Stoppard fans, whose work seems rarely to be brought to and appreciated so much on a Sheffield stage.
