Last Updated on November 26, 2025
The Infernal Machine
Last night saw the opening at the Old Vic of Richard Jones’ production of Sophie Treadwell’s extraordinary play Machinal (translated from the French as ‘mechanical’), originally a Broadway hit in 1928 starring Zita Johann and Clark Gable.
The narrative revolves around the true story of Ruth Snyder, a young woman who in 1927, in cahoots with her lover, murdered her husband and went on to be executed by electric chair. This turn of events became a huge news story, ensnaring the attention of the American public, and leading to a frenzied scramble for courthouse tickets during the trial, with a photograph of her death dominating the front pages of newspapers across America.
These sensational series of events also provided the source material for film director Billy Wilder’s classic film noir Double Indemnity. Treadwell, an American journalist, and playwright attended the hearings throughout the trial and chose not to write a news report; instead, she gleaned material for her Expressionist reinvention of the drama playing out in the courtroom. The play premiered just 6 months after the execution.
This production originated at the Theatre Royal, Bath gaining critical plaudits and rave reviews for Rosie Sheehy’s portrayal of Synder. The entire cast has transferred to The Old Vic along with Sheehy.
Sheehy portrays an ordinary young woman trapped by the confines of a mechanised world. From the crowded subway commute to her tedious job where her typewriter refuses to cooperate, she navigates through mundane routines while shouldering the responsibility of caring for her mother amidst challenging economic circumstances. Within this constrained existence, she finds herself reluctantly drawn towards marrying an affluent older man and her boss, as if it’s the only viable option available. However, beneath this facade of resignation lies a deep-seated longing for liberation and autonomy, a yearning for a life unrestrained by societal expectations and financial dependence.
Sheehy’s performance is nothing short of extraordinary and truly visceral. Through her portrayal, she skilfully channels a profound sense of frustration, entrapment, and the haunting loneliness that accompanies her character’s fate. Her performance is well supported by a stellar cast, an excellent Tim Francis as her Husband, and Buffy Davis captures her Mother perfectly, Pierro Niel-Mee is very believable as her lover, and credit to the other talented cast members who play a series of different roles.
Richard Jones’s economical yet stylish production adheres closely to the confines of an expressionist drama. The play unfolds within the boundaries of a framed yellow asymmetrical box, meticulously designed by Hyemi Shin, enhanced by Adam Silverman’s vivid lighting and Benjamin Grant’s evocative sound design. This minimalist approach extends seamlessly into the costumes, which reflect the sombre uniform colours typical of the 1920s era, with the leading characters clad in plain, lighter clothing, maintaining the aesthetic coherence of the period and the production’s overarching vision. Although the set never changes the scenes move rapidly on and space is redefined by a series of poignant headings – Business, At Home, Honeymoon, Prohibited, Intimacy, Domestic, The Law. and finally, A Machine.
The production thrives on physical expression, skilfully captured by Movement Director Sarah Fahie who has beautifully mastered its essence through a powerful display of ensemble work. Machinal stands as a timeless exploration of conformity and rebellion amidst industrialisation and societal change, delving into the profound effects of oppression on women.
What distinguishes this rendition of Machinal is its ability to prompt contemporary introspection and dialogue on its themes. As the narrative unfolds, themes of autonomy, societal pressure, and the repercussions of nonconformity resonate with chilling relevance in our modern world. Through the lens of the past, The Old Vic’s production urges us to reflect on how we navigate societal constructs and their implications for our lives today. An important production executed with clarity and intelligence that leaves you wrung out and exhilarated all at once.
At The Old Vic until 01 Jun 2024
103 The Cut,
London
SE1 8NB
https://www.oldvictheatre.com/
We also recommend Nye currently showing at the National Theatre
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