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Poppies

 
Susanne Crosby Review by Susanne Crosby 5 Published: 26 May 2026 The Rotunda Theatre: Squeak Show Dates: 23 May 2026-25 May 2026

Whether to wear a poppy or not, whether to commemorate and honour those fallen in battle: two close friends find themselves on opposite sides of the argument, becoming increasingly entrenched and embittered. It’s not a simple answer. It’s not just a piece of red paper for which you put money in the collection pot. It’s not just an older veteran reaching an important birthday, prompting the British nation to send birthday cards. Because there is more than one nation: Jim is English, Johnjoe is Irish.

An acutely observed story of belonging and relevance

First shown at Camden Fringe, this version is even tighter and more refined. This is beautifully rich writing in which not a second is wasted in either construction or production. Strangely, the fact that it is a comedy makes it more accessible, rather than diminishing the weight of the subjects it contains. Johnjoe and Jim play versions of themselves, and much of the content is inspired by true events, which gives it even greater gravitas.

They joke about giving us an hour of political theatre, telling us it is about men’s mental health, toxic masculinity, and identity, but the lightness and laughter twist like vines through the play until the more serious refrain - “it’s about poppies” - resounds from both men for very different reasons. The irony lands like a punch: it is so clearly about far more than poppies, or any emblem. It invites probing questions that leave their indelible mark long after the play ends. On a larger scale, how can anyone support the symbol of an empire if their best friend comes from a culture subjugated by that empire? How is supporting and commemorating the fallen in the armed forces of a country not also supporting the killing they perpetrated? And if your best friend was on the other side, how could you support what your country stands for?

This cleverly written play is told with character-driven fluidity, even when jumping in and out of multi-role situations that intercut conversations with perfect timing. The performers feed off each other with remarkable ease; movements and words come as naturally as breathing. The production is tightly choreographed and directed with lean precision, yet still feels authentic, grounded, and real. Jim Spencer Broadbent and Johnjoe Irwin, who also co-wrote the piece, have eked out every possible angle, yet the humour never undercuts the drama; instead, it deepens the emotional impact.

Throughout the journey with these friends, sympathies shift, tilt, and veer between them at different moments. It builds towards an unexpected ending that lands with quiet devastation, elevating this far beyond the usual Fringe fare. What it manages to convey about identity - the desire to belong to something and to feel valued - in such a seemingly effortless way is nothing short of extraordinary. An acutely observed story of belonging and relevance, told with authenticity and power - unmissable.

Amir Nisi

Susanne Crosby

Susanne is a national award winning playwright and has been telling stories since she learned to talk. She became a published poet aged 17, and is mainly known for writing plays which have been performed all over East Sussex. In addition, she writes short stories and has one published novel. She is also a freelance journalist for local papers, magazines and blogs. She is part of the “Paperweights” anthology, published by Scope in 2015.

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The Blurb:

Johnjoe and Jim clash over the wearing of a poppy. The best friends address what the symbol represents to their respective heritage and attempt to navigate their way through this historic subject matter in relation to their friendship and the British Empire’s devastating, lasting impact in Ireland. This naturalistic conversation develops into surreal hypotheticals that explore autonomy, societal expectations and childhood memories. Amidst this, their relationship falters as they both realise they are fundamentally different people. Poppies depicts a modern day tragedy of stubbornness, repressed anger and identity in a time where this lack of footing soft launches so many young men into dangerous ideals.'
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