The Fetch Wilson

The Fetch Wilson is the type of play that might work very well as a film, or so you might think upon leaving the theatre. The story follows Liam Wilson, or Bill, as he becomes after encountering a child at school with the same name. Bill is the storyteller, an Irish man attempting to explain why he has entered the space wearing a dressing gown and a rubber ring over his underwear. Over the course of the next hour, Bill weaves a tale, ostensibly of his own life. All the audience can do is sit back and let themselves be drawn into Bill’s world of dark, seedy encounters and increasingly violent situations.

Mullane’s performance is brilliantly layered, inspiring sympathy through the pitiful sense of sadness behind his brash exterior.

As the sole performer, Edwin Mullane has the near impossible job of holding the audience’s interest with no real help from any other source. Sure, there are a few well-placed lighting cues, but the set is deliberately sparse to give Mullane free reign over the space. It is a shame, then, that he does not always manage to fill it. The blocking favours simplicity over ingenuity, putting more pressure on Mullane to captivate just with his face and voice. Inevitably in an hour long show, he occasionally fails to do this.

Luckily, these moments are quite rare. Mullane’s performance is brilliantly layered, inspiring sympathy through the pitiful sense of sadness behind his brash exterior. But for all his micro-expressions and well executed-Irish witticisms, there is a sense that he has been let down a little by Jed Murray’s reserved direction. All of the creatives should be praised for pulling off what feels just like listening to an eccentric stranger rambling on in a pub, but could they have done more with that idea? Bill breaks the fourth wall immediately, but there are very few instances of interaction past delivering a given line to a certain audience member on occasion. Perhaps it would be more interesting to play around a bit, if Murray and Mullane had an idea of who they thought Bill might be telling his story to.

There are definite cinematic elements in playwright Stewart Roche’s work. Sections of the show are very reminiscent of certain monologues from Martin McDonagh’s oeuvre, perhaps most overtly referencing Colin Farrell’s character in Seven Psychopaths. The use of an unreliable narrator is a great device well used, and the non-linear approach to Bill’s storytelling adds to the feelings of uncertainty and unease woven throughout. The end of the play dives into predictability, especially for anyone who might have read in the copy that Chuck Palahniuk was an influence, so is a little underwhelming. But with strong acting from start to finish, and a script brimming with thrills and intrigue, The Corps Ensemble have created a strong show, just in need of a tiny push towards excellence.

Reviews by Beverly Sproats

Underbelly, Bristo Square

It's True, It's True, It's True

Pleasance Courtyard


Gilded Balloon Patter Hoose

Naughty Boy

Greenside @ Infirmary Street

Stoned, Stupid and Stuck (A Californian Fairytale)

Underbelly, Cowgate

Hyde and Seek

Traverse Theatre

Frankenstein: How to Make a Monster


Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
Donate to Acting For Others now



The Blurb

A wild and darkly comic journey down the streets and back alleys of modern Dublin, from award-winning writer, Stewart Roche and ground-breaking young Irish theatre collective. This thrilling new play brings you to places you shouldn't go but want to – while asking one question: how well do you really know yourself? Inspired by the worlds of Edgar Allen Poe and Chuck Palahniuk. 'A young, energetic and fearless company' (Examiner).

Most Popular See More

Dear Evan Hansen

From £30.00

More Info

Find Tickets

Pretty Woman: The Musical

From £24.00

More Info

Find Tickets

Matilda the Musical

From £24.00

More Info

Find Tickets

The Lion King

From £25.00

More Info

Find Tickets

The Phantom of the Opera

From £27.00

More Info

Find Tickets

Come From Away

From £24.00

More Info

Find Tickets