The Inevitable Quiet of the Crash

The Inevitable Quiet of the Crash is a show whose tagline betrays its true value. While nominally about the struggles of city life in London, the show is at its best when it’s examining how grief affects people differently. But its need to fit its tagline forces it to return to issues of success and society in the city, which removes the charming uniqueness the show has

It refuses to take the step beyond its tagline, and because of that runs the tragic risk of being lost in the noise of the Fringe.

The play is about three women all connected by a man named Alex. They’re his girlfriend, his Agent and a lover, and his mother, however, when he’s hit by a runaway tube train, their lives are all thrown into chaos. The death of Alex affects all of them differently, and the show then becomes about how these different, disparate people deal with grief. Their perceptions of Alex as a person and their relationship with him change how they react to his death, all to extraordinary effects. But it’s here where the problems start to arise, because the show’s three parts don’t feel like they belong in the same place as soon as we get there. Anna and Julia, the girlfriend and the mom, explore how they handle Alex’s death extremely differently, but Sally, the lover and aspiring model, continues to deal with her life in the city. In fact, the only remnant of Alex in her life is an unplanned child. And this thematic dissonance keeps the show from what could be brilliance. It refuses to fully commit to being interesting and is all the worse for it.

That’s not to say the show is bad, because it isn’t. The music, although derivative of Pasek and Paul at certain points, is fun and adds to the show, with the exception of a whole lot of drum solos, which I can say universally suck. The performances were inconsistent but good, with special mention of Ellen Timothy who whose voice blew me away and who brought a calm maturity that the role of Julia demanded. The set was sparse, as is typical of the Fringe, but inventive, with the crates used to make up the space doubling as storage space for the props. These bits were all good – beyond good maybe. But they can’t save a show from itself. For every moment of fun or every beautiful moment of crushing anxiety, there were moments that felt out of place and off. It refuses to take the step beyond its tagline, and because of that runs the tragic risk of being lost in the noise of the Fringe.

Reviews by Miles Hurley


[BLANK] by Alice Birch and NYTP

Assembly George Square Gardens

Jekyll and Hyde

Roundabout @ Summerhall

Islander: A New Musical

Gilded Balloon Teviot

The Examination

theSpace @ Surgeons Hall

The Domestic

theSpace @ Surgeons Hall

The Good Scout


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 £600,000 to support theatre workers affected by the pandemic.
Donate to Acting For Others now



The Blurb

Three women struggle to overcome the anxieties of living in modern-day London after a man is killed in a train crash. Having pinned their hopes on a city that won't stop moving, they must now come to terms with the unforgiving consumer society on which they have become addicted. This critically acclaimed musical features an all-female cast and contemporary jazz drumming score. 'One of the most stunning bits of new writing this year' ( 'Exhilarating… the atmosphere was electric' (

Most Popular See More

Les Miserables

From £22.00

More Info

Find Tickets


From £29.00

More Info

Find Tickets

Witness for the Prosecution

From £19.00

More Info

Find Tickets

Joseph and the Amazing Technicolor Dreamcoat

From £13.00

More Info

Find Tickets

The Play That Goes Wrong

From £25.00

More Info

Find Tickets

The Book of Mormon

From £20.00

More Info

Find Tickets