Poignant end to trilogy

Dorfman Theatre in the National Theatre

The final part of David Eldridge’s trilogy concerning couples at various stages in their relationships provides great acting from Clive Owen and Saskia Reeves in a story concerning a dying partner, said the critics.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

4 stars ⭑⭑⭑⭑

LondonTheatre’s Marianka Swain found:  ‘Both actors are tremendous. Owen viscerally conveys the exhausted frustration of this energetic man being confined to a failing body (…) An extraordinary Reeves cycles through the desperate stages of grief (denial, anger, bargaining) while also hinting at Julie’s reserves of strength.’ She concluded: ‘Eldridge could do with leaving more space for such exchanges – there are a few too many florid speeches and over-worked metaphors – but this is tender, compassionate drama.’

Calling it ‘a beautiful conclusion’, Fiona Mountford in the Telegraph said: ‘Rachel O’Riordan’s sensitive production is not afraid to take its time and sit in its silences, allowing ruminative rhythms to play out. Yet it is by no means all downbeat, as Alfie and Julie playfully recall a rich shared history of past pleasures.’

WhatsOnStage’s Sarah Crompton found: ‘Owen and Reeves give performances of such honesty that the characters cease to be imagined and become real, every flicker of their shifting emotion beautifully recognised’. She decided: ‘It’s an astonishingly realised portrayal of the way human beings can grope towards an expression of the real things they are feeling’.

The Standard’s Nick Curtis said: ‘O’Riordan’s production depends on the chemistry of Reeves and Owen. The flashes of pique, exasperation and anger between Julie and Alf are underpinned by a mature and demonstrative affection. End features one of the more tender and delicate love scenes I’ve seen on stage’.

3 stars ⭑⭑⭑

Time Out’s Andrzej Lukowski was unconvinced: ‘Alfie and Julie’s dialogue and actions often feel wildly implausible in the context of a 90-minute realtime conversation, overly crammed with exposition and incident. Some veering in tone makes sense, but it gets a bit silly here. It’s a naturalistic drama, but (without wishing to spoiler) it becomes increasingly hard to believe a conversation like this would ever happen.’

Dave Fargnoli for The Stage found: ‘O’Riordan handles the sensitive, slow-paced piece with great finesse, assuredly judging when to let a pause stretch into a loaded silence and when to slip in an uplifting moment of humour. The unhurried staging never becomes static, but while the script is truthful and keenly observed, the piece feels more like documentary than drama: overly observational; lacking forward momentum.’

The Guardian‘s Arifa Akbar stated: ‘This is grown up, bittersweet fare that brings with it a full-bodied reflection on the end that awaits us all: death.’

The Independent‘s Alice Saville explained: ‘The first two parts captured decidedly normal Essex couples falling in love, then (almost) falling apart, played out in real time. Its conclusion breaks new territory by showing a couple who’ve broken with their past, by moving away from their beloved home county, and by contemplating the still scarier reality of moving off this planet altogether. But it still feels like it’s building to something bigger that never comes – a pay-off, postponed in favour of yet another cup of tea.’

Dominic Maxwell in The Times thought it was: ‘too rich with reminiscence, but it offers lots of telling details and little knots for its characters to untangle or move beyond.’ He observed: ‘This kind of nicely observed writing needs fabulous playing to stop from feeling like nicely observed writing. Rachel O’Riordan’s assured production gives us just that.’

Critics’ Average Rating 3.4★

End can be seen at the National Theatre until 7 March 2026.Buy tickets directly at allmysonsplay.com

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