Invited| Review by Aaron Whittington
Saint Maud – 17th October 2024
This stage adaptation of Saint Maud carefully captures the psychological tension and eerie atmosphere of the original story, immersing the audience in a world where faith becomes both a salvation and torment.
In Saint Maud, the story unfolds as a tense psychological drama centered around three key characters whose interactions explore themes of faith, obsession, and the fragile boundaries between salvation and madness. At its core, the play is a disturbing journey into the mind of Maud, a young carer who has recently undergone a form of religious conversion and whose faith becomes increasingly dangerous as she tries to “save” her terminally ill patient, Amanda.


Maud, once known as Katie, carries the weight of a traumatic past, having abandoned her former life after a mysterious incident that is never fully explained. When she begins caring for Amanda, a former dancer now facing her final days due to terminal cancer, Maud’s religious zeal intensifies. She becomes convinced that she is on a divine mission to save Amanda’s soul, seeing this as a chance for redemption and spiritual fulfillment.
Amanda, in stark contrast, is worldly and irreverent, having lived a life of freedom, pleasure, and indulgence. Despite her illness, Amanda refuses to submit to the conventional notions of morality or redemption that Maud tries to introduce her too. Amanda discovers and acknowledges Maud’s intense religiosity at one point, perhaps as a distraction from her pain, but soon becomes wary of Maud’s growing fanaticism and later and later dismisses her. Amanda represents everything Maud believes is sinful, and this conflict between the two women drives much of the tension in the play.
As Maud’s obsession deepens, she begins to blur the lines between her spiritual visions and reality. She perceives herself as a chosen instrument of God, destined to deliver Amanda from her hedonistic lifestyle and secure her place in heaven. However, Amanda resists Maud’s efforts, mocking her piety and rejecting the notion of salvation. This clash between Maud’s delusions of divine purpose and Amanda’s rejection of faith builds toward a dramatic and violent confrontation.
The character of Carol, serves as a crucial link to Maud’s former identity as Katie. When Carol recognises Maud, she forces her to confront the part of herself she has tried to move on from. Carol’s presence is a test to Maud sent from God above.


Ultimately, Saint Maud is a story about a woman’s descent into madness, fueled by loneliness and an extreme form of religious devotion. Maud’s attempt to “save” Amanda becomes a tragic projection of her own desperate need for purpose and redemption, leading her to a catastrophic conclusion. The play explores the dangerous intersections of faith and mental illness, while the relationships between Maud, Amanda, and Carol illustrate the devastating effects of isolation, trauma, and obsession. As Maud’s delusions intensify, the audience is left to question where the line lies between divine inspiration and psychological breakdown, and whether Maud is a victim of her faith or its most extreme embodiment.
The staging and direction enhance the intensity of the play. Through minimal yet effective set design and lighting, the production creates a sense of creeping dread that mirrors Maud’s psychological descent. The subtle use of sound and silence amplifies key moments, leaving the audience both captivated and unnerved. I like the frame of the stage that brought us to the beach, and the inside bringing us to the residence of our patient Amanda. I also loved the rage of fire also that was produced in one scene and pushed an intensity of heat towards us in the audience.
All three characters provide an intensity of their own in this production. Brogan Gilbert as Maud shows provides us a shy yet disturbing presence to her character. Vulnerable at times and others scarily obsessive. Dani Arlington as Amanda a care free attitude – we do see vulnerability in impending death camouflaged by a reluctance to give in. Neshla Caplan as Carol, the hedonistic distraction and reminder of the past for Maud that she is trying to redeem herself from. Caplan brings a staunch defence of her friends lifestyle and provides a presence that tries to reach out to Maud despite an ever increasing obsession.


The ending of Saint Maud leaves a powerful and unsettling impression, and you have until 2nd November to see it for yourself.
In the run up to Halloween, Stephen Tompkinson and other special guests will read previously unheard ghost/spook stories by top level North East writers including Eliza Clark, Benjamin Myers, Matt Wesolowski and David Almond as curtain raisers to Live Theatre’s highly anticipated production of Saint Maud.
Kicking off the series on Saturday 19 October, acclaimed actor Stephen Tompkinson will read visionary playwright David Rudkin’s short story The Keeper about a mysterious presence haunting a lighthouse.
On Tuesday 22 October we will hear an exclusive story from cult author Eliza Clark’s (Boy Parts, Penance) highly anticipated upcoming collection She’s Always Hungry, read by Jude Nelson.
On Wednesday 23 October North East award winner Benjamin Myers’ (Cuddy, The Offing. Gallows Pole) chilling tale Blue Knickers will be read by actress and writer Samantha Neale.
On Thursday 24 October, great North East chronicler David Almond (Skellig) will take the stage and read his own brand new ghost story Sinclair’s Hell.
On Friday 25 October horror novelist Matt Wesolowski (Hydra, Deity, Beast, Demon) shares a brand new skin crawling tale Pretendy-Mammy
Tickets available: https://www.live.org.uk/whats-on/saint-maud