By Eloise Snape. Director: Anthea Williams. Ensemble Theatre. 18 Sept – 18 Oct, 2026

Reviewed : 22 September, 2026 *

Eloise Snape uses three women caught in the precipitative rush of technological advancement and corporate drive to question the moral dilemma of sacrificing “humans and human instinct” for the sake of ambition and new technologies.

Margot is the CEO of ECO Engines. She’s also a new mother who’s left her newborn baby in a humidicrib to solve a “PR meltdown”. She’s ultra-efficient, up on the subterfuge behind the publicity problem as well as her maternal responsibility – even has the breast pump and bottles in her designer tote bag!

Alison’s a keen young PR assistant anxious to please and keep up with any tech changes and jargon. She’s bright and enthusiastic and in the know about how PR is handling the current crisis. She sees the funny side of things and has an infectious laugh which she finds hard to suppress!

Ollie is a technician and part-time cab driver. She’s been around and is pretty savvy. She’s wise to how big companies misuse technology to twist the truth – and is on a mission to subvert ECO Engine’s PR’s latest malfeasance.

Snape traps them in a lift – and uses her wit and clever dialogue in a “sharp, funny and fearless dark comedy” that lampoons superfluous tech, inane jargon and shaky corporate ladders tin order to highlight how “progress” can lead us to forget about caring, nurturing and being honest.

Kelsey Lee’s tall, high-tech, talk-back, square cylindrical elevator gives director Anthea Williams the ability to make the action seem confined without crowding the actors. The use of geometrical shapes and angles and edges pervade in the few props, a toolbox, handbags and telephones.

Williams sustains those shapes in her blocking. The actors stand tall, or sit at angles, the spaces between them are kept as taut and stretched as the confining ‘walls’ of the space allow, letting Williams accentuate the tension and conflict – as well as the humour in the play.

Leeanna Walsman is Margot, tenacious, strong, determined to maintain her dignity and position. Walsman stands Margot tall and aloof, aware of the precariousness not only of the PR disaster that has occurred, but of her own present physical vulnerability which she is determined not to admit.

There is grit in the way she holds herself, pride in the way she sustains her status and treats others. She keeps Alison at a physical and professional distance – and relegates Ollie as inferior and subordinate.

Walsman shows Margot’s the harsh ruthless drive in her ability to sustain her composure despite the visible effects of post-partum. And again, as she tries to rise above Ollie’s exposure of the very nasty PR cover-up that is being cleverly quashed.

Shirong Wu finds Alison’s youthful energy and naïve resolve in a performance that is bright and funny. Her comic timing – and management of a particularly long comic pause – makes the intelligence and perception of her character very appealing. Her Alison won’t be put down – but will listen and calculate and make good decisions. Wu moves lightly on the stage and Williams uses that to find the contrast with Margot’s controlled stillness and Ollie’s firm, dogged resolve.

That resolve underlies Ollie’s every action and Di Adams shows it in carefully judged words, reactions and movements that deceive Margot, Alison and the audience. Ollie is on a mission. She’s planned it to the exact moment using the new technology – and her own shrewd, astute cunning. Adams is aware of spatial effect on the stage and uses movement and stillness to define Ollie’s character. Thus Ollie can watch carefully, keep silent, choose her moment. The Ollie Adams portrays is wise, prudent, and unphased by arrogance of power, especially when she sees its callous brutality.

It’s that callous brutality that she exposes in The Elevator … but you’ll have to see the play to see how she does it!

Anthea Williams, along with creative team and three skilful performers make this new play by Eloise Snape one to remember.

Also published in Stage Whispers magazine 

* Opening Night