Tender – Bush Theatre, London

There’s more here than meets the eye in Tender, as Eleanor Tindall’s queer romance returns to the Bush Theatre.

Tender

For me, one of the strengths of the Bush Theatre‘s programming is its support for the ongoing development of works it has nurtured. It shows a commitment to working with creatives and actors over a longer duration than a single run of a play. And for me, as an eager audience member, it means second chances to see works that I might have missed the first time around.

Both of these are true in Tender’s return to the Bush Theatre. After a first run in 2024 (which I missed), it’s now back on the main stage in a revised version by Eleanor Tindall. Emily Aboud returns as director, as does Nadi Kemp-Sayfi in the role of Ivy. Francesca Amewudah-Rivers is a new addition to the cast in the role of Ash (also voicing Max and Cas).

Tender is a queer romance, but not a straightforward one. Ivy and Ash meet outside a nightclub, and when they see each other again at the overpriced cafe Ivy works at their connection is undeniable. Ash has only recently extricated herself from a complicated situation though, with an ex harassing her in a way that is unsettling, and potentially dangerous, but not concrete enough for the police to do anything about. Ivy, meanwhile, lives with boyfriend Max. She knows something is off, but has lost the confidence in herself to do anything about it. Or has she?

So far, the makings of a typical romantic drama. Tindall establishes from the first scene, however, that this is something more. The reason that Ivy feels disconnected from herself is that she, many years ago, ripped parts of herself through her skin, from her throat, and put them out of sight in the walls of her house. Ash, meanwhile, feels the noise, the pulsing, of her new flat from the first time she views it. This note of horror is sustained throughout the play.

Walling Off Parts of Oneself (Literally)

I didn’t see Kemp-Sayfi as Ivy back in 2024, but I loved her in the role yesterday. Her awkwardness and rationalising of uncomfortable situations sit perfectly with a woman who has walled off (literally) parts of herself. It also brings a real humour to her interactions with Ash. Amewudah-Rivers is the more confident of the two, but also brimming with nervous energy and second guessing her choices. Here are two women taking baby steps towards finding themselves. Whether those steps take them in the same direction remains to be seen.

The blend of genres I felt was a strength of the play, but also in some ways a weakness. A strength in terms of taking it in interesting directions and adding plenty of atmosphere and tension. A weakness in that it takes a real suspension of disbelief, in the end, to credit all the interconnections between the two characters. Would a bit more horror and a bit less romcom have done the trick? Or is some third thing required? Both horror and romcoms are genres where it’s common not to delve much into characters beyond the immediacy of their situation, and I felt that was a little bit the case here.

The set (designed by Alys Whitehead) certainly leans into the body horror aspects of Tender, complete with blood and gore. Its simplicity adds to the sense of the surreal. The choice to have Amewudah-Rivers voice the other two characters also keeps us focused on Ivy and Ash. Both are talented actors and have good chemistry, and I liked the innovative movement design for their intimate scenes – a bold choice by Emily Aboud and one that comes off.

Overall, Tender is an engaging and atmospheric work. I am pleased to have had this second chance to see it, and hope to see more from all involved.

Salterton Arts Review’s rating: 3.5/5

Tender on until 1 August 2026. More info and tickets here.