The Pitchfork Disney
At a time where fear for the future seems to dominate our minds, bodies, phones and indeed the entire political environment, it seems appropriate to revive this 1990s classic piece of writing, The Pitchfork Disney from Philip Ridley. This is a play that explores fear as not only something that stems from childhood anxieties but also sees fear as a currency, a product that the public wants to hide away from but peep at surreptitiously through gaps in their fingers.
As a new take on fear, The Pitchfork Disney at the King’s Head Theatre is directed by Max Harrison from Lidless Theatre and follows the story of two twins, who have locked themselves out both physically and emotionally from the rest of the world. Something terrible has happened to their parents but now it’s just them, feasting on chocolate and their mother’s medicine, while dreaming of end times. These are siblings, alone against the world. But what happens when you let that stranger into your home? Something horrific is what.
This is a piece with history. When The Pitchfork Disney first performed in the 90s at the Bush Theatre, people left, some vomiting, utterly disgusted by the level of violence, gore and rambling monologues. But underneath, a subculture was forming. The piece resonated widely with young people, part of a movement called ‘in-yer-face-theatre’ that aimed to shake the audience by the scruff of the neck, often diving into divisive and violent topics with no holding back, the foot firmly on the accelerator. The Pitchfork Disney was regarded as a staple in this key period of British playwrighting. Now in 2025, we revisit a new world and writing that feels just as relevant — if not even more so, years later.
When entering the theatre, I was struck by something we would have experienced in pandemic times. Set and Costume Designer, Kit Hinchliffe has successfully captured a living room with a simple yet aged look: cosy but uneasy, nostalgic but with an edgy layer of chaos underneath. Lighting and sound design were sufficiently simple and natural to ground us when the writing unearthed new memories and insights. A short tune reminiscent of The Twilight Zone played just as we began to venture down into Presley and Haley’s world, which worked well to keep the audience at the edge of their seats.
Well, truthfully, we were sometimes on the edge of our seats and at other times, we were falling out. Ridley’s writing is hilarious as it is utterly disgusting. Graphic horror and joy are tossed into the same sentence about nuclear bombs. This is not an easy show to watch but it is fascinating to see the fallout, which I believe is the whole point. Throughout, Harrison’s knowledge and experience of the playwright is evident as the direction is efficient and uses all the space. We frequently entered dreamlike moments — these were captured fantastically with flourishes, stabs and paces across the living room. These moments of childlike wonder and terror, especially by Presley (Ned Costello), were a masterclass in bringing to life the terror of a nightmare. This was one of the most impressive performances I have seen this year, and believe me, it will be imprinted on my mind for quite some time to come.
Indeed, the entire cast is ‘delicious’ in how they approach the text, and I mean that as a big compliment. The sibling bond between Presley (Ned Costello) and Haley (Elizabeth Connick)was tender, heart-breaking and very real in how much the two reacted to one another in their fight about fruit and nut chocolate. Connick’s performance is equally hilarious and electric, and the audience was laughing and crying with her throughout the piece.
In this iteration, the world of The Pitchfork Disney shows how the world in 2025 has become desensitised to violence. We see it everywhere – the reality is that it has become the norm. The arrival of Cosmo (William Robinson) and Pitchfork (Matt Yulish) is significant in this regard. Robinson delivers a temperature change with a leather trench coat and perfect hair. He is a stranger and equally a tornado. His performance, even in its violence, has moments of upset. We see how he is moved and equally disgusted by the two siblings and hellbent on causing havoc.
Finally, what to say about Pitchfork? I don’t want to expand on how their appearance on stage looked like it was too much — simply because you need to be there and I don’t want to spoil the impact. Suffice to say that if Robinson is a tornado in his performance, Yulish is the storm chaser.
We all have fears, some more than others. Some are considered silly and trivial (hey, I hate moths, so what can I say?) but this new iteration of The Pitchfork Disney shows us that perhaps the biggest fear we could possibly have is that our fears will be commercialised and made into money, which in turn will generate more fear. It feels like a never-ending cycle, but on an optimistic note, shows like The Pitchfork Disney remind me that art is the way forward.
Visit the King’s Head Theatre and The Pitchfork Disney for a wicked, twisted and tasty piece of theatre. Just remember to bring your sequins!
This show was reviewed on the 2nd September 2025 at the King's Head Theatre, London where it runs until the 4th October 2025. Tickets available here: The Pitchfork Disney — By Philip Ridley, Directed by Max Harrison | King's Head Theatre
Review written by Mary Condon O'Connor
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Photo credit: Charles Flint
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