What’s the story?

Years into a war neither side realises will end soon, two soldiers come across each other in the woods of New York state. One British, one American, both deserters, both named John. The unlikely pair begin, naturally, as adversaries… and annoyances, quite frankly. Still, eventually something more tender begins to blossom, and the realities of what they share and what each still has to come begin to shift the Johns’ ideals.

Where did it play?

Sweet Victory played at the Etcetera Theatre, Camden on September 17th and 28th 2026

For updates on future productions visit Good People Good Theatre on Instagram

This review was written at the request of Good People Good Theatre, who kindly invited me to attend.

Spoiler-Free Thoughts

An equal two-hander is a careful balancing act, particularly when the surroundings of an intimate story are so grandiose in nature. In Elise Marra’s Sweet Victory, this exercise in equal footing is adding to further by the subject matter – the two characters are on opposite sides of a war, but for the audience to connect with both they can see neither as a villain. Mara proves more than capable of handling this balance, with each of the Johns being just as funny, just as intelligent, and just as moving as the other.

As a director, Mara recognises the benefits and possible stumbling blocks of the Etcetera’s black-box space. This same sense of simplicity exists, of course, in her own script, set almost entirely in a single location and with the narrative drive coming entirely from the characters. A smaller space is used to great effect here, with the two Johns’ physical closeness enhancing both the awkward beginnings and the gradual kinship building between them.

Their rapidly changing dynamic also owes much to two strong, well-contrasted performances. Emma Wilkinson Wright’s sternness as John Smith and Mikkie-dené Le Roux’s slight goofiness as John Thomas present an almost paternal dynamic which works well for the enemies-to-friends buildup. A strong chemistry between the pair also allows for a good deal of differing humour, with Smith’s stiff upper lip offering much different jokes to the more boisterous Thomas.

As well as these comedic moments, the hour also offers some real heartfelt connection with each of the Johns. Both performers prove very capable of shifting on a dime to accommodate these emotional turning points, with Marra’s writing and direction working well to guide these more intimate moments.

Perhaps the main shortcoming of an otherwise thoughtful and funny hour of theatre is an ending that falls somewhat flat. We know, while neither John does, that the war will soon be over, but what we build towards feels too easy. A sense of urgency present through each man’s backstory and future hopes as the show progresses, but none of this urgency exists within the final moments – the time where these hopes and challenges ought to be most at the forefront.

This may merely be excessive picking at a minor issue, but it was hard not to feel that the seemingly wrapped-up ending did a disservice to the emotional weight behind the comedy. Elise Marra’s script finds real tenderness and develops genuine growth within the confines of both length and scale, and she and her cast should absolutely be commended, but it feels like a desire for closure has blunted what could have been a touching final moment.

What’s the verdict?

Thoughtful. Funny. Relevant.

⭐️ ⭐️ ⭐️

Unfortunately, stories about those on opposing sides of a conflict coming together continue to carry relevance. It may well be that they always will, the world seeming to always have new divides emerging and the human race so averse to true alliance. But Sweet Victory finds some real heart and humour in the idea, and even as it stumbles at the finish line this is worthy of praise. If John Smith and John Thomas can become friends in a New York forest, perhaps there is hope for real allyship.