The Pitchfork Disney By Philip Ridley at King's Head Theatre

Back in 1991, the Bush Theatre saw a theatrical phenomenon as Philip Ridley presented his first professional stage work – The Pitchfork Disney – to the public. Stories of the reaction to the play have become legendary, with reports of audience members walking out and even fainting. In fact, the effect of the story was considered so traumatic that there were discussions of whether a nurse should be present in the theatre for each performance. Thirty-four years later, the show is back, so I went along to the King’s Head Theatre to see if the show lived up to its reputation to shock.

Ned Costello and Elizabeth Connick - credit Charles Flint. — Ned Costello and Elizabeth Connick – credit Charles Flint.

Set in a house in East London where twins Presley (Ned Costello) and Haley Stray (Elizabeth Connick) live together. The twins are around twenty-eight and lost their parents ten years ago. Now they live together and bicker constantly about silly things, like whose turn it is to do the shopping and did whoever is shopping buy both types of chocolate bar in sufficient numbers so they have an equal amount of their favourite. In their actions, they seem younger than they are. They tell each other fantasy stories that they make up or dream about. They are a pair who are self-sufficient together and don’t need the outside world, and have a fear of the outside world. You get the feeling they could live like this forever. Then, one night, Presley looks out of the window and sees two men, one of whom is apparently sick. Haley becomes agitated, so she is given a drugged dummy to suck on until she falls asleep, at which point Presley goes out and brings the sick man – known as Cosmo (William Robinson), into the house. Cosmo explains that his colleague Pitchfork (Matt Yulish) has gone to find their car and will be back soon, hopefully. As the evening draws on, Presley and Cosmo talk and discover things about each other, risking Presley and Haley’s sanctuary from the world.

Where to start with The Pitchfork Disney? If I’m honest, I thoroughly enjoyed it, but am not 100% sure why. Normally, this wouldn’t be my type of story. No real heroes and a narrative that is comedic, full of suspense and suppressed horror, and at times almost surreal. But it really works. I was mesmerised by the whole story of the Strays, Cosmo and Pitchfork. There are some really powerful monologues throughout where one of the actors grabs you by the well, you know what, and holds your attention until they decide to let you go again. This is especially true of Hayley’s dog story and Presley’s run-in with a serial killer tale. But under all this, there are also four very messed-up people. At the theatre, you can buy a copy of the playtext, and I would recommend you do as there is some fascinating analysis of the characters and their potential motivation. But in reality, it is up to you to decide what drives them and what makes them say and do what they do.

In 2016, Ridley said, “Every time it’s revived, it means something different. There’s a production of it on in Canada, which in the present climate is being seen as a play about terrorism – about the fear of the outside coming in and the fear of change. A few years ago, it was about the fear of sex, intimacy, of being touched”. In my mind, I got to wondering if maybe Cosmo and Pitchfork were all part of a dream Presley was having that we, the audience, could see in the same way he does in his head. This is the hallmark of great writing.

It must have been an interesting process for Director Max Harrison to get the cast assembled and also into the right frame of mind to take on the characters, but they all do so superbly. Elizabeth Connick spends a lot of the show asleep, either not moving or talking/calling out, but before sleeping, she really dominates as the two siblings argue and bicker. Connick brings the vulnerability of Hayley out, making her seem younger, and therefore under the protection of her twin brother, and her moments with Ned Costello have a real brother/sister chemistry going on throughout. With Presley, Costello has a very complex character to portray. There is not only his love, and protection of his sister, but also his feelings for Cosmo. Feelings he may not understand in his own naivety, but they are there – or are they? As for Cosmo himself, William Robinson fits the description – body hard and muscular and totally fat free, perfect hands, perfect nails, perfect knuckles, smooth, white, slender – of Cosmo perfectly. He looks good and knows how to manipulate people with a smooth charm that he can turn on. But underneath, there is a Mr Hyde character lurking who can appear in an instant, and when that part of Cosmo is out, then brother beware. Robinson makes Cosmo equally someone many of us would love to know better, but who equally is terrifying. It seems unfair not to mention Matt Yulish as Pitchfork, but I try to keep my reviews spoiler-free free so I can’t say too much except that Pitchfork was nothing like I have ever seen before and someone I would be glad never to see again.

Brought back to London by Lidless Theatre, The Pitchfork Disney still has the ability to shock and surprise its audience. It has something to offer everyone, from backseat psychologists, through to horror story junkies, it’s there. Whilst at times you are wondering where the story is heading, you soon realise that you don’t actually mind because, rather like the world’s best rollercoasters, as the tension and your fears mount, you know this is a ride you want to stay on until the very end, and don’t worry about the nightmares.

Review by Terry Eastham

“You know why the ghost train is so popular? Because there are no ghosts. Once you’ve learnt that you can make a fortune.”
Ten years ago something terrible happened to Presley and Haley. Since then, they’ve lived alone in their dead parents’ house, doors bolted against the terrors of the world. But, one night, Presley sees a beautiful stranger on the street outside. And while his sister sleeps… he invites in their worst nightmare.

CAST in order of appearance
Presley | Ned Costello
Haley | Elizabeth Connick
Cosmo | William Robinson
Pitchfork | Matt Yulish

4 Sep – 4 Oct 2025
https://kingsheadtheatre.com/