Three Hens in a Boat
Tied on the Thames
Three Hens in a Boat
by Camille Ucan
Reading Rep and Watermill Theatre Productions at the Reading Rep Theatre until 17thMay, then on tour until 7th June
Review by Sam Martin
Reading Rep Theatre continues to delight with its inventive and heartfelt re-imaginings of beloved classics, and Three Hens in a Boat is no exception. Loosely inspired by Jerome K. Jerome’s 1889 novel Three Men in a Boat, this updated adaptation by Camille Ucan is a buoyant, comic, and surprisingly tender exploration of womanhood, family, and the tangled truths we sail past in the name of love.
Ucan’s script swops the original trio of Victorian gents for a lively, intergenerational group of women: Claudette, her daughter Gloria, and her granddaughter Jay, who set out on a celebratory river cruise to mark their joint hen party. Of course, as with any good journey narrative, the waters are far from calm. What begins as a seemingly light-hearted weekend afloat on the Thames becomes a bubbling, emotional voyage through long-buried tensions, maternal missteps, and the quiet ache of unspoken truths.
Under the direction of Abigail Pickard Price, the production moves with a clear sense of purpose and energy, maintaining a brisk pace that never rushes past its emotional beats. The comic timing is sharp and well-judged, and it’s this balance — between laughter and longing — that makes Three Hens in a Boat so rewarding. Ucan’s writing is witty and contemporary, laced with self-aware humour and punchy one-liners, yet it’s never afraid to moor itself in more serious waters. As the cruise progresses, revelations begin to surface: resentments are aired, white lies are exposed, and the generational fault lines of this unconventional family are gently, but powerfully, revealed.
At the heart of this production is Ellen O’Grady’s Claudette, in a performance that radiates warmth, generosity, and impeccable comic timing. O’Grady captures the contradictions of Claudette with real finesse: a grandmother who wields humour like a shield, but whose emotional depth breaks through in moments of vulnerability that never feel overstated. She is a delight to watch, her presence anchoring the show with a comforting charm.
Verona Rose brings great charisma to the role of Gloria, a driven career woman whose desire to be accepted by her daughter often manifests in misplaced gestures and awkward gifts. Rose is captivating; larger than life, yes, but never cartoonish. Her portrayal is grounded in genuine emotion, and her comedic flair is offset by moments of quiet heartbreak, particularly as the complexities of her relationship with Jay are unearthed.
Camille Ucan, as Jay, is the heart and hinge of the story. Her performance is both relatable and nuanced, capturing the confusion and vulnerability of a woman caught between generations, simultaneously a daughter and a granddaughter, wrestling with expectations from both sides. Ucan’s chemistry with her fellow actors is superb, and it’s this sense of connection that makes their familial bond believable, if fractured. The trio’s dynamic is messy, loving, and achingly real.
The production design deserves special mention. The set beautifully conjures the flowing Thames, with clever use of the moving boat and scenic shifts that subtly suggest both the physical journey and the emotional one. Time passes almost imperceptibly, aided by soft lighting transitions that help differentiate moods and highlight the ebb and flow of the characters’ relationships. In particular, the darker moments of the play are underscored with a restrained, atmospheric palette that never overwhelms the performers but supports them.
Modern music references pop up throughout the production, often to great comic effect, offering moments of levity and nostalgic delight. (I particularly loved hearing a bit of Sisqo!) These contemporary touches help keep the story grounded in the now, while still nodding to the spirit of Jerome’s original travelogue, which was itself a satire on modern life and human folly.
The emotional arc of the piece crescendos in a deliciously ironic yet touching commitment ceremony, with all three women dressed in wedding gowns, vowing not to their respective (and absent) partners, but to each other. It’s a bold and playful conclusion that lands with sincerity: a celebration of chosen family, flawed though it may be, and the realisation that the relationships that endure aren’t always the ones you expect.
Three Hens in a Boat is a joy: funny, heartfelt, and wonderfully performed. Reading Rep once again proves that it is unafraid to blend innovation with tradition, resulting in a show that is as reflective as it is entertaining. Whether you know the source material or not, this production stands firmly on its own, offering a generous dose of laughter, a few tears, and an affirmation that the only vows worth making are to those who’ve seen you at your worst and stuck around anyway!
Sam Martin, May 2025
Photography by Pamela Raith
Mark Aspen 