Review: The Lower Depths – Bristol School of Acting – Tobacco Factory Theatres
Bristol School of Acting stages Gorky’s play with strong ensemble work and excellent character study
It feels like a place somewhere at the edge of the world where the last remnants of humankind are barely surviving. Even so, amongst the copious amount of vodka, card games and the death rattles of a dying woman, there is small hope to be found, scattered amongst moments of joy.
Director Aaron Parsons pulls a lot of biting humour from the darkness within Maxim Gorky’s The Lower Depths.
This production is performed by the third year graduating students from Bristol School of Acting BA (Hons) Acting for Stage and Screen.
Aldo Vázquez’s set is bleakly beautiful. A maze of pallets above an earthen floor. Amy Mae’s dramatic under-lighting enhances jagged angles as well as matching the warm tones of the set.
The stark wooden misshapen lines of the pallets contrast with the softness of giant white pillows.
Moments of death are also illuminated in those bright whites tones, creating a mix of the heavenly and unearthly. It’s a smart way for the dead to leave the stage, especially with this production taking place in the round.
Despite a huge amount of dissonance over the belief in God explored through the text, it also feels spiritual. There’s a hint of foreboding amongst dying characters which feels a little like Dickens’ Ghost Of Christmas Yet To Come.
The lighting mirrors the costume of Mhairi O’Connor’s tiny and frail birdlike appearance. As the dying Anna, she drowns under pure white layers of soft fabric, crushed like a tiny dove.
At times, haunting vocal harmonies add to the eerie atmosphere.
Maxim Gorky’s gritty play is set in Russia at the turn of the last century. The year 1902 marks somewhat of a critical turning point for the Russian Empire – though there’s no rumblings of uprising in Gorky’s writing. This is a day to day story of survival.
And yet, it still feels starkly relevant today. Themes found within the show includes poverty, housing, healthcare, homelessness, addiction, unethical landlords – It’s all things we see in Bristol every single day.
The Lower Depths also famously explores the question of honesty. Is it kinder to tell a lie to bring those in despair some comfort?
AJ Shaw’s earnest performance of Luka, ultimately feels like an agent provocateur within the group. The blanket of lies in this production strongly feels like manipulation. And when everything goes to hell, Luka has disappeared, again rather like a ghost.
It matches the rising of the dead throughout the play. They stand in silent argument against Luka’s lie regarding death being peaceful.
There isn’t a hugely complex storyline in The Lower Depths. It’s rather more a series of character studies. It makes for an interesting collection of performances and a smart way for the drama school to showcase the talents of each actor.
Even when all eyes are on the action in the centre of the stage, those in the shadows pull off some cracking performances most won’t notice.
As The Actor, Harry Nicholls’ descent into silent despair in a far dark corner is excellent. As is Henzy Newland as Vasilisa when seeing Pepel (Fin Latcham) with her sister Natasha (Leila Zarbafi).
Henzy Newland gives us a commanding and intimidating presence on stage as Vasilisa.
Ulysses Gallucci as the droll Landlord Kostilyoff shows his mastery at blending comedy and drama into an iconic performance. It’s very reminiscent of a young Alan Rickman.
Bethan Lock as Alyoshka, floods the stage with another excellent comic performance punctuated with bursts of the concertina.
Ensemble work is a huge strength in this production. There is a wonderful energy when the cast come together, owning the stage.
Some of the highlights of this can be found at the end of Act One, which is hugely poignant.
The group fight scene in Act Two contained a moment of violence so sudden and shocking and perfectly performed it made the audience collectively gasp.
The final scene at the end, again another burst of wonderful ensemble energy.
Maxim Gorky’s play is an interesting one. It feels more like peering into a moment in time rather than following a story on stage. As a glimpse into an eye witness of Russia at the time, it’s an interesting historical source as well as a piece theatre rooted in Social Realism.
As a play exploring ideas and themes over story development, it must be a challenge for the company to sustain the audience’s attention over quite a period of time.
Bristol School of Acting does an honourable job of managing to do so with strong ensemble work and excellent character study.
The Lower Depths is at Tobacco Factory Theatres 12 – 14 November 2026
For more information and to book, visit: https://tobaccofactorytheatres.com/shows/the-lower-depths/
For Bristol School of Acting: https://www.bristolschoolofacting.com/
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All photography: Craig Fuller
Cast and Creatives
Luka – AJ Shaw
Khlysty – Alfie McGuinness
Miedviedieff – Ben Cowan
Alyoshka – Bethan Lock
Tramp – Chris Spiring
Pepel – Fin Latcham
The Baron – Freddie Brown
The Actor – Harry Nicholls
Vassilisa – Henzy Newland
Nastya – Hollie Hope
Satine – Kian Pollard
Natasha – Leila Zarbafi
Kvashnya – Olivia Cullum
Anna – Mhairi O’Connor
Kleshtch – Red Cuthbertson
Bubnoff – Rhi Speck
Zob – Rhiannon James
Kostilyoff – Ulysses Gallucci
Maxim Gorky’s The Lower Depths edited by Aaron Parsons
Director – Aaron Parsons
Assistant Director – Fletcher Graham
Designer – Aldo Vázquez
Lighting Designer – Amy Mae
Sound Designer – Jack Drewry
Associate Sound Designer – Thalia Goldsack
Costume Supervisor – Lee Dartnell
Hair and Make-up Advisor – Katrina Tuktareva
Movement Support – Michelle Gaskell
Vocal & Accent Support – Rebecca Daltry
Combat Director – Annie Mackenzie
Production Manager – Dean Sudron
Stage Manager – Ruby Ryan
Deputy Stage Manager – Danny Williams
Assistant Stage Manager – Joshua Cox, Sofia Gnesoulis
Set Builder – Jeff Cliff
Production Electrician – Caitlin Marks
Communications & Marketing – Sam Miller
Producers – Joe Salisbury, Stuart Wood
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