Fringe’s Contemporary Garden of Eden: ‘There is No Anger Like That of a Woman’
“A desired object is still an object”
Presented by the Theatre Kingston Fringe 2026 and Of The Sea Productions, There is No Anger Like That of a Woman, written by Grace Delamere, takes place in a present-day brothel over the course of one hour. This small window of time is shared between Eve (Grace Delamere), a sex worker, and Adam (Liam Armstrong), a banker; yet what occurs is beyond their expectations.
With the entire performance being a single scene in Eve’s room, the set for the show is simple: a bed, two apples, water, and a nightstand with a lamp, which is utilized for a beautiful moment of diegetic lighting early in the performance. Surrounding the major furniture pieces are stacks of books: if audiences take a closer look, they’ll notice many about feminism and feminine rage, including Karolina Ramqvist’s The Bear Woman, Stephen King’s Carrie, and, most important to the story, The Bible.
Delamere’s writing is superb; they weave sharp feminist commentary, religious critique, and the realities of sex work together to create a piece that is extremely relevant to past and current relationships between men and women, but also relatable to audiences. By limiting the world of Eve and Adam to the confines of this single hour in a brothel room, audiences are treated to a perspective of the pair that leaves them yearning for more. Delamere crafts characters that are complex and grounded in real life, and strikes a balance between their witty, comedic banter and sharp debates with ease. The conversation feels so natural that at times, it blurs the line between performance and reality.
In addition to being the playwright, producer, and designer of the show, Delamere is also incredible as Eve: headstrong, clever, and vulnerable, their interpretation of the character is a display of the intricacies concealed by the facade she initially hides behind. A perfect match for this performance is Armstrong as Adam. He is charismatic and truly likeable—a difficult feat for a character who constantly pushes against Eve’s progressive views—rising to the occasion with witty remarks and conveying the character’s longing for love. The pair have impeccable comedic timing and chemistry so wonderful it makes you root for them, even despite their knowledge that this story cannot have a happy ending.
Each member of the production team works seamlessly with one another, and it is clear each person understands the story they are telling intimately. Meg Gibson’s clear direction and effective blocking create beautifully framed moments that harmonize with Delamere’s pragmatic design approach, further emphasizing the characters’ similarities and differences, while ensuring they remain grounded in reality. The technical elements of the show, led by Abi Boatright, are simple yet effective, always enhancing the story and never overtaking it; my only wish was for the lighting to remain diegetic, existing in a more similar world to the lighting that opened the performance and contributed to the up-close and personal feeling of the play. Aiden Robert Bruce’s intimacy direction is beautifully executed onstage: I am always a proponent for effective, safe intimacy choreography, and am glad to see the team rise to the occasion in There is No Anger Like That of a Woman, particularly with the heavy themes surrounding intimacy within the story.
I hesitate to include more details about the show, as frankly, it is a must-see and my personal favourite of the festival thus far. Bold, powerful, and beautifully crafted, There is No Anger Like That of a Woman is everything Fringe audiences need and more.
‘There is No Anger Like That of a Woman’ runs until August 16th at the Tett Centre as part of the 2026 TK Fringe Festival. For tickets and more information, click here.
