REVIEWS FOR 180⁰ CHORD
Review: 180° Chord, Greenwich Theatre Studio
6 January 2026
Excellent!
A substantial and compelling play with a strong script, strong performances and plenty to think about.
4 stars
It’s the first week after New Year, my phone is telling me it’s -4 degrees outside, and most people went back to work today after the festivities. As circumstances for attending the opening night of a play, I can’t think of a less auspicious start. Those like me who braved the bitter outdoors to witness this performance of 180° Chord at the Greenwich Theatre Studio were, however, richly rewarded with a substantial slice of superbly written and well-performed theatre, ripe with complexity and depth.
180° Chord is a well-established two-act play by Chris Leicester, who also directs. This would normally make me wary – the lack of another perspective can easily blunt the impact of a work and limit its range of expression. Not here. The script at the heart of this play is well planned and meticulously thought through. The result is a compelling drama about an ex-copper (Paul Findlay) who finds himself banged up (I won’t spoil it and say why) with one of the very many criminals (Dominic Thompson) he sent down in his long career. During his first thirty-six hours in prison, a riot starts that quickly gets out of control and seemingly can’t be quelled by any kind of authority. The riot becomes a kind of apocalyptic pressure cooker in which the drama unfolds. It starts as nothing more than an incidental backdrop but develops in urgency and becomes central to the story and its sad conclusion.
The work has a strong structure with varied pacing: some scenes are no more than two sentences, some are substantially more, some are heartfelt monologues, and some are brutal dialogues. It is the strength of this writing that means that the direction (which is quietly effective) is rendered largely irrelevant. In terms of lighting or set, there is nothing on stage to set the world alight here, yet there is one critical element present: the two actors.
Either Leicester is the world’s most skilled casting director, or he really lucked out when he found Findlay and Thompson. The range of expression they bring to both their roles is often electrifying: the intensity with which they face up to one another and themselves can be spellbinding. They oscillate between belligerence, vulnerability, grief, and humour as they draw us into their complex and layered story. Importantly, neither of them is afraid to pull back and really lean into the darkest corners of their characters. They present truly interesting and developed portrayals that demand our scrutiny: there are no lazy stereotypes here – you must pay attention if you are to understand how these two men became who they are. 180° Chord is substantial by fringe theatre standards at nearly two hours in length, but it does not overstay its welcome. Findlay and Thompson make every second count with unflagging energy until the very last beat.
Underneath all of this lies a pertinent commentary about violence, abuse, integrity and self-worth that will challenge the way you view the world of crime and the justice we expect to be served to those who indulge in it.
Temperatures are not forecast to improve during the duration of this play’s run, so I can only urge you to wrap up warm, because you really should get out and make the effort to see it: this is a play that deserves the warmest of receptions.
Written & Directed by Chris Leicester
Produced by Too Write Productions
180° Chord plays at Greenwich Theatre Studio until Sunday 18 January
180⁰ Chord - Review - Greenwich Theatre Studio
A simple production that packs a punch
4 stars
6 January 2026
by LTR
Detective Sergeant John Gray (Paul Findlay) is the pride of the Manchester police force, but fate intervenes, and suddenly he finds himself in the same prison as the people he arrested. News of his arrival spreads, the riot starts, and they come looking for him.
A fellow inmate, Connor (Dominic Thompson), hides him, but why?
Chris Leicester, the writer and director, has carefully crafted a play that exposes the darker realities of human behaviour. This two-hander, with a simple yet effective set that switches between cell and station, explores actions and consequences. With flashbacks to Connor’s arrest and the circumstances that led John to be in prison, we are slowly exposed to raw and uncomfortable truths and invited to consider if all crimes are equal.
The chemistry between Findlay and Thompson is palpable. These are powerful and moving performances by both men, and they succeed in drawing the audience deep into their respective worlds. The script is clever, moving, and at times uncomfortably funny, providing humour that highlights the absurdity of their shared situation.
Moving, at times unsettling and tightly performed, 180° Chord grips from start to finish. Its power lies not in the riot or the twists, but in the uneasy relationship at its centre and in the way it leaves the audience to sit with the consequences. It’s a theatre that asks difficult questions and you will struggle to look away.
It runs until 18 January.
Review: S. Newman
7 Jan 2026
Written by Penny for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
180⁰ Chord, presented by Too Write Productions, has already enjoyed critical acclaim from productions staged in 2022 and 2024, and it now concludes its most recent tour in Greenwich. The marketing blurb does not give much away. All we know is that it is about a police officer who ends up behind bars with a target on their head, receiving unlikely help from a fellow inmate. It’s an intriguing premise and raises plenty of questions to be answered over the next couple of hours.
Written and directed by Chris Leicester, the play is well suited to the intimate space of Greenwich Theatre’s Studio. The stage is bare except for some basic furniture – a single bed, a couple of chairs, a toilet and a small table with, incongruously, a teddy bear sitting on it. It’s basic, it’s lacking in home comforts, it’s clearly a prison cell. The scene is set. As the action unfolds, the prison environment is brought to life with a soundtrack of rumbling unrest, shouting and the occasional voice-over that takes us away from the prison and into a Courtroom or a police interview room. A scene in the prison garden jars a little as the accompanying birdsong is such a contrast with the bleak and violent norm. Unfortunately, at this performance, a constant hum from the speakers and bright light coming from the tech desk were slightly distracting – both can hopefully be easily fixed with a couple of tweaks.
The play starts with fairly bold declarations from the two characters. DS John Gray is introduced at his sentencing, stating firmly in his defence “I did nothing wrong”. Convict Connor is talking about his experiences to an audience, “I am a criminal”. It all seems clear and very black and white. But as the play progresses, we are given more information and find out about the significant events that have brought these two men to their current state of incarceration. From childhood trauma and abuse to a career hiccup and unemployment, it’s all led to this 180⁰ reversal of fortune. As the play approaches its dramatic conclusion, we revisit these opening statements, this time with the added context we have gained. It’s an excellent way of framing the action.
As the play opens, we learn that we’re in the middle of a riot and that the prison guards have totally lost control. The two men are softly-spoken, it’s slightly difficult to catch every line in their interaction, but we don’t miss anything important, and the softer delivery feels deliberate and very natural. Neither character dominates; each is getting the measure of the other, and the audience cannot decide who is the hero and who the villain and indeed we wonder if it is going to be this clear cut. This sets up all of their interactions perfectly – the more we learn, the more the tension grows, it’s real “edge of the seat” stuff.
Although 180⁰ Chord is a two-hander, the actors also have solo scenes in which they’re talking to third parties, and they address empty chairs placed at the front of the stage for these interactions, a very effective technique that almost breaks the fourth wall, drawing the audience right into the dialogue. There’s a clever nod to this in the script as well, with our convict and copper discussing the power of theatre and performance.
Leicester’s direction sets a great pace, seamlessly taking us from scenes in the prison to the flashbacks that fill the gaps in the stories of our two unreliable narrators. With so much information to take in, he also makes good use of pauses in the narrative to give the audience time to absorb every new revelation.
The casting is excellent. As DS John Gray and Connor, Paul Findlay and Dominic Thompson are perfectly matched, with the balance of power shifting between them. Findlay is completely convincing as the cold career copper, with a single-minded focus on removing “vermin” from the streets. Scratch the surface and his anger is barely controlled – brilliantly revealed in a one-sided and emotional exchange with his father. At first Thompson seems an unlikely criminal, but his delivery offers one of the most chilling and disturbing scenes in the play, his icy control much more sinister than any physical power play.
180⁰ Chord is a gripping piece of theatre that tells a complex and dramatic story that will keep you guessing right to the end. With superb direction and performances, the two hours go very quickly, it is time very well served.
180⁰ Chord runs in the Greenwich Theatre Studio until Sunday 19th January 2026. Find out more and book here.
★★★★
180° Chord – Barons Court Theatre – London
The Reviews Hub - London, 22nd February 2024
Reviewer: James Robertson
4 out of 5 stars
Writer and Director: Chris Leicester
What is real justice and who truly deserves to administer it?
In Chris Leicester’s play, 180° Chord, this question is posed with all of its moral and ethical greyness. Hitting the basement stage at the Barons Court Theatre in London, this new work delves into the depths of a criminal underbelly fraught with injustice and pain.
John Gray, played by Paul Findlay, is a former cop thrown into a prison cell at the moment that an intense riot breaks out, throwing the entire complex into anarchy at a moment when he is at his lowest. To come to his rescue is Connor ( Vincent Fox), a well-spoken criminal overlord turned friendly cellmate, who takes John under his metaphorical wing as they dash about the prison while guards are murdered and chaos reigns supreme.
When entering the theatre, the audience is met with bare staging: only a bed, a couple of chairs and some odds and ends inhabit the space. To the corner are a toy bear and a small railway set, which hold part of the stage as signifiers for what is about to unfold.
The play is anchored by two leads who power through the play with competent degrees of emotion and gravitas. Fox is amusing and sinister at the same time as Connor, detailing his criminal escapades with a sense of sincerity that is only compounded by his cool, calm and collected demeanour. Findlay has arguably the more difficult job, as the plot tends to jump backwards and forwards in time at a moment’s notice, giving him little wriggle room to breathe between instances of intense, gut-wrenching emotion and the detached version of himself that he plays in the past.
The story is tightly focused and allows both actors to shine in their respective roles. Some moments do present themselves as too expository or overdone in their execution, such as mentionings of time and place that could be evident from the scene itself. Leicester’s writing deals with the topics of murder, crime and mental health with a good degree of tact, leaving impressions and images which are born to stick with you once the play is done.
The intimacy of the Barons Court Theatre lends itself well to the intensity of the show, something that may have been dulled in a larger space. The use of sound could be much improved, as some elements do come across as quite cheap, but do convey what is necessary without sullying the experience.
180° Chord is an intimate performance that showcases the strengths of its two actors well, while delving into the edges of a prison life thrown into chaos, wrenching forth the traumatic backgrounds of the main characters.
Runs until 24 February 2024 and continues to tour
Interview - Chris Leicester puts a ruthless copper and a seasoned criminal in the same cell
Richard Beck
7 Jan 2026
Reviews for the book, 180° Chord
5 out of 5 stars
"Wonderfully written! I was drawn in right away by the author’s flowing style and captivating imagery, not to mention the instant mystery of murder. Expertly woven characters create a storyline that makes it all too clear that the course of a life can change in mere moments, a system of cause and effect. This book kept me hooked from start to finish. Highly recommended!" - Amanda C Rosendale - Amazon - 19th May 2021
4 out of 4 stars
"What is the difference between murdering and killing? How far should one go to ensure justice? How far are you willing to go to avenge the death of a loved one? 180⁰ Chord by Chris Leicester evokes these questions and more as one reads along. It is an unconventional crime novel where no one is good or innocent; it is about the lesser evil. Vince, an inmate at a Manchester prison, has been planning this day for over three years. It started with a simple request for a potted plant, and now the prison is in utter chaos with an ongoing riot. The riot serves a purpose, and Vince is on a hunt.
Detective Sergeant John Gray was once a decorated and feared police officer, with an extensive list of achievements and criminal incarcerations. However, those days are long gone, and Gray is now an inmate and fighting to survive. Connor Fitzgerald, an uncharacteristically polished prisoner, seems to be Gray’s savior as he hides him and helps him escape from Vince and his men. However, it is not an easy task as Vince is highly motivated and yearning for Gray’s blood. On the other hand, Connor’s past life is also tied to Gray, so how genuine is his gesture of help? Most importantly, who is Gray?
The book’s introduction instantly hooks the reader as the story immediately unfolds in a prison environment with an ongoing riot. The characters are many, but the introduction of each is excellent, making it easy to perceive and follow their roles in the plot. Chris describes each of them vividly, clearly bringing out their physical and personality attributes. Additionally, the book is unique since the dominant setting is the prison environment and associated activities. The author also creatively uses comparisons and metaphors, further making the story enjoyable.
My favorite aspect is about the novel is the alternating timelines. For instance, one paragraph can be about a tense prison situation, and the next, the reader is taken back in time to one of the character’s lives or backgrounds. This creates immense suspense and anticipation as one gets to consume two stories concurrently and is eager to get back to the tense scene. What I dislike about the read is the heavy use of profanities. I thought it was a bit overdone, despite the prison setting. However, this is a personal opinion and does not affect the rating.
The book is excellently edited; I did not find any grammatical or spelling errors. The language employed is intelligible but suitable for mature readers due to the substantial use of explicit expressions. The book also has some gruesome depictions of murder, which may affect sensitive readers. 180⁰ Chord is a blunt book that presents the extremes of life. It will have you weigh whether a crime is justified or not or the degree of correctness of a wrong. The book takes the reader through a world where being ruthless is the ultimate survival mechanism, a world of gangs, dirty politics, despair, and a quest for vengeance. I, therefore, award it a rating of 4 out of 4 stars. I recommend the book to those looking for a fast-paced and thought-provoking crime novel with a poetic take on crime and life choices."
Guda LM. onlinebookclub.org 21st March 2021
5 out of 5 stars
"Thoroughly enjoyable farce. Set in a prison, a detective sergeant finds himself on the wrong side of the bars. A riot ensues as inmates come searching for his blood. A fellow inmate offers a helping hand to escape - but why? A game of cat and mouse with humour and the odd thrown punch. Recommended."
Dereena White - Netgalley - 2nd February 2021
4 out of 5 stars
"My first from this author, found it an excellent read from start to finish. Thankfully it did not leave you quessing at the end, finished the story nicely. Would certainly recommend this book to anyone who likes mystery novels."
Terry Self - Netgalley - 15th March 2021
4 out of 5 stars
"This book is brutal and seriously gritty, not for the fainthearted.
Set in a prison but with the story of the characters interwoven into how they're there is cleverly worked through this tale of fear and nail biting moments. The viewpoints of the characters are laid out and allow the reader to question motives and consequences. The motivations of the three main characters are slowly leaked while the pace of the story comes back to the events of the prison incidents. It comes with some heart stoppers.
I liked the brutish front of Vince, the hard man. I questioned the motive of Connor, the seemingly ordinary man whose life unravels and the policeman turned criminal who finds himself in the worst place a police officer ever wants to be. A good book if not a little wordy in parts but well worth a read."
Samantha Keegan - Netgalley - 28th February 2021
5 out of 5 stars
"There is no disguising this savagely violent tale that will unfold in this account of an alleged prison riot. It is an extremely well thought out plot of vengeance and long harboured hatred accumulated over many years amongst the characters. The 'riot' is not the actual story, it has been purposely orchestrated to enable the main protagonist, Connor, to avenge his many demons. Connor (without too much of a spoiler) is an angry man, a very very angry man. He has lifetimes of betrayals (in his mind or not) involving a disappearing wife/ex wife, other women, business associates and long held bitternesses (in his mind he is not actually a criminal) that all comes to fruition later on.
Connor has held a dangerous grudge for a very long time against the man that put him down. (Why gets revealed later in the book) He has now come up against that man in the same prison. The balance of power has now changed.
Connor is very much a loner in the prison but commands respect from the various 'crews that drift around'.
One crew is led by Vince, with his team of very disturbed violent and volatile 'comrades' behind him, (some of which are lifetime friends) all of which have extremely damaged and abusive backgrounds and are eager to avenge basically what their leader wants. Grudges are brutally and viciously played out.
Well executed storyline, beautifully descriptive, and fast paced narrative.
Look forward to more from this author."
Alexandra Adams - Amazon - 20th April 2021
4 out of 5 stars
"An interesting,well researched book set within the sturdy perimeter of a maximum security prison. A riot takes place with prison officers held as hostages. Rather than a demand for changes to regime the key players are intent on pursuing a former policeman. As we follow the ex-coppers trail we learn of each individuals back story. It is pacy, original and highly enjoyable." - b. johnston - Netgalley - 19th April 2021
PAST REVIEWS FOR CHRIS LEICESTER
“Enjoyed the book a lot. Grabbed me from the beginning and had trouble putting it down. Well written.”
Louetta Walters on Hurricane Hill – NetGalley – 5 stars
“Essentially, I enjoyed the novel, it is extremely well written. The author applies a very descriptive style of writing to full effect. The story is carefully crafted and the reader is drawn in bit bit.”
Tony Walsh on Hurricane Hill – NetGalley – 5 stars
“It's a well written and worthy read. I didn't know what to expect at first, but I found myself enjoying this far more than I expected to.”
Melanie Kimble on Hurricane Hill – NetGalley – 4 stars
“This is a very moving and timely book.”
Kate Nelson on Hurricane Hill – Goodreads – 4 stars
"Hurricane Hill certainly remain in my memory for weeks to come. Should you get a chance to see this play in any potential future performances, you should look forward to it immensely." Sebastian Gahan on 'Hurricane Hill' 19/10/2013
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“Naturalistic, gritty writing – reminiscent of Mike Leigh.”
Camden New Journal on ‘The Baby Box’ 2008
“Leicester's writing is confident and powerful...”
Hampstead and Highgate Express on ‘The Baby Box’ 2008
“Chris Leicester’s clever, acerbic, unpredictable play.”
The Stage on ‘The Fourth Wall’ 2005
"Achieves moments of mesmerising realism that Stanislavski would have applauded." Time Out on ‘The Fourth Wall’ 2005.
"Beg, borrow or knee-cap for a ticket!"
The Scotsman on ‘Mafioso’ 2003