Photo by – Aiste Bendauskaite
In Good Conscience is a work-in-progress play staged at the King’s Arms Theatre, produced by Red Line Theatre, and co-created and performed by Barbara Diesel and Oli Wyatt. Red Line are a company who champion new writing, and challenge the establishment, encouraging us to question rules that we had no part in the making of. The play is brand new for Greater Manchester Fringe Festival, but you would not know that the company have only been working on this show since June! It is relevant, and edgy, and does not hold back in its questioning of authority.
As we walk into the theatre, the scene is set before we even begin, with the Kaiser Chiefs’ anthem ‘I Predict A Riot’ serenading us into our seats. Phoebe (Barbara Diesel) is a strong woman with a purpose; she feels the intensity of the world and its injustices and will not sit down and be a passive observer. She not only wants to protest, but she wants to take direct action which has led to other protestors being arrested and imprisoned. Elliot (Oli Wyatt) is a Legal Observer who attends protests to ensure that events are accurately recorded, – he must remain impartial. And this is how the two of them meet, at a protest where Elliot is observing and recording, and his admiration for Phoebe’s passionate nature is what sparks a conversation. As we see the play develop, their relationship blossoms, but it also comes with its challenges, or could their differences be their strength!?!
There are two storylines running alongside each other here, a personal relationship between Phoebe and Elliot, Phoebe wants to change the world, and Elliot wants to observe it…or does he! Their relationship is tested as Phoebe’s commitment to her protest group weighs heavier on her shoulders, she is exhausted with fighting, but in some way, this is when Elliot steps up. This is a strength of the storyline, and very human, people can change, and life experience can change people’s perspective, and it is reflected brilliantly in their relationship.
The background commentary adds another dimension. With snippets from current news items brought to life by a voice ensemble, the outside world is brought into the theatre, which makes this play feel more relevant to each and every person sitting in the theatre.
As this is a work-in-progress the play is still in development, but they have already come such a long way with a very good barometer as to how the country is feeling right now. The broad idea of the play is strong and introducing the developing relationship between two people who do not always think in the same way, in some ways represents our political system. Phoebe is feisty, and she alludes to past trauma. I would like to see more tender moments between Phoebe and Elliot, we see her criticising him, but he loves her and we need to see the connection that makes him stay with her, apart from his admiration for her spirit. How the first scene connects in with the rest of the play could be a little stronger, it sets the scene and is a place for the audience to work from in the developing plotline. This is a hard-hitting play, and it is well written, and topical. I am sure that it will do well if they work with director Linnae Yllane on some of the points mentioned above, but I am sure that performing the play has given them their own ideas, too.
The voice artists were – Daniel Fitzpatrick as the voice of ‘Harry’, John Ammirati, Adam Buss, Sarah Davies, Ashleigh Edwards Pitt, Hannah Foster, Bryce Golding, Isha Hafeez, Sarah Henry Hart, Lauren Hickin, Rachel Keeley, Olivia Loupe, Toby Rothwell, Alex Saint, Benjamin Joseph Shaw, and Linnae Yllane.
To stay up-to-date with Red Line Theatre go to their website – https://redlinetheatre.co.uk/in-good-conscience
Reviewed: 14th July 2026
