A STUNNING SET, WOMEN THAT DELIVER, BUT SOMEONE NEEDS TO STEER THE SHIP

By Tanya Howard | Founder, The Live Review London · @glamglitzlondon ⭐⭐⭐ | Press Invite

When a show’s promo image features someone toppling into water, I set my expectations accordingly. And Don’t Rock The Boat at The Mill at Sonning thankfully doesn’t leave us high and dry. There is indeed a splash (literally), although I was fully prepared to throw someone in myself if they didn’t commit to the bit.

This was my first visit to The Mill since Christmas, and since they moved from their buffet-style dining to a set menu. RIP stuffing your plate with “a little bit of everything”, but I will say the table service was lovely. No queueing, no wasted food, just a delicious two-course meal before curtain up.

I went for the Steak pie, mashed potato & steamed vegetables, one of five mains on offer. I was tempted by the Thai green curry, but knew I’d have FOMO if I missed out on The Mill’s signature pie. For dessert, I chose the Dark chocolate tart, raspberry coulis & cream. It looked great but was a bit too rich for me to finish.

Now onto the play. Don’t Rock The Boat unfolds aboard The Bunty, a converted barge moored on a sleepy stretch of the Thames. The set is, as always at The Mill, fantastic! They’ve got a knack for squeezing an impressive amount of detail into a small space. The warm wood tones and cosy boat details felt lived in and perfectly reflected the 90s timeline.

Plot-wise, though, things got off to a slow start. The first two scenes dragged, feeling more like filler than necessary build-up. Everyone felt suitably cast, but the dialogue just needed trimming. Steven Pinder, as property tycoon Arthur Bullhead, had a hefty chunk of the script, but I was confused by the character. He is meant to be brash and bullish, but the delivery felt more baffled. I couldn’t tell if the hesitations were acting choices or line fumbles.

The standout for me was Rachel Fielding as Carol Coombes, the seemingly composed wife of the local planning committee chairman. She delivers this beautiful slow-burn breakdown across the play. You see the cracks form, the mask slip, and years of silence start spilling out. She gives voice to a character who’s been playing perfectly and holding it for a long time, and it’s brilliantly done.

Scene 3 of Act 1 is where things finally start to click, and I had high hopes for Act 2. But sadly, it ended up being a mixed bag. We’ve got arguing, blackmail, dramatic revelations, and the awaited river plunge. It sounds chaotic in the best way, but the pacing still dragged. The male characters in particular start to wear thin, and the back-and-forth plotting gets a bit muddled.

What did keep me engaged were the mother-daughter dynamics, which added emotional weight when the rest of the story wobbled. But the ending left me puzzled. Without giving spoilers, several plot threads are left hanging. The business deal that drives the whole premise gets no clear resolution. Major character shifts happen without explanation. And the final moments feel abrupt rather than conclusive.

I think the play is aiming to explore the idea that a “perfect” family can be just as dysfunctional as one that wears its chaos proudly. It’s a compelling idea, and a reminder not to judge on first impressions as you never really know what’s happening behind closed doors. But instead of a cathartic payoff, I was left with too many question marks and not enough closure.

There are flashes of charm, great performances from the women, and a gorgeous set! But overall, Don’t Rock The Boat has its moments of charm and comedy, but ultimately it feels like a play still finding its current.

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Photo Credit: Pamela Raith