By James Sweeney – www.james-sweeney.com
Review: Make It Count
Make It Count, a new award-winning comedy-drama by James Sweeney, came to Louth Riverhead Theatre from 18th to 20th June 2026. This studio-scale three-hander follows one man’s chance to relive sixteen years of marriage, with consequences that are both surprising and painfully revealing.
The production features Brayden Kerr, Laura Thompson and Derek Hodges, with a running time of around 90 minutes plus an interval. It has already picked up notable recognition, including Best Stage Play at the Best Script Awards 2026 and the Audience Vote at Louth Riverhead Theatre’s Scratch Night in September 2025. Following its programmed run in Louth, the play will also receive a staged reading at Langham Court Theatre in Victoria, Canada, in September 2026.
I was very fortunate to watch an online version of the production, and what stood out first was the strength of the script. It is well put together, with humour used carefully throughout. The jokes land naturally and never feel forced, sitting comfortably alongside the more emotional and reflective parts of the story.
The cast bring the characters to life with confidence and warmth. The acting is very good across the board, but I particularly enjoyed the Grim Reaper-style guide figure, who keeps the pace moving without dominating the piece. It is a role that could easily become too heavy-handed, but here it feels nicely judged: present, guiding, and entertaining without becoming overbearing.
The music between scenes also works well, adding atmosphere and helping the production shift between moments. I found myself trying to work out whether the music choices were deliberately linked to the action on stage, which added another layer of interest while watching.
The story itself is engaging, and one of the strongest things about the play is that it does not always go where you expect. There are moments where hope seems possible, only for that hope to be undercut by the reality of the character’s actions. That balance between possibility and consequence gives the production an emotional pull and keeps the audience invested.
I did feel the middle section could have benefited from a slight change of rhythm away from the main characters. In a musical, this might come through a tap sequence or a musical interlude; in a play like this, perhaps a more distinct pause, shift or creative break could help refresh the audience before returning to the central story. With so much focus placed on the three actors, a small moment of contrast could enhance the production rather than take anything away from it.
That said, Make It Count held my interest throughout, and I enjoyed it immensely. It is a thoughtful, well-acted and engaging comedy-drama with a strong central idea and a cast who make the emotional turns feel believable.
In its current format, I would give Make It Count 4 stars.
‘A thoughtful, well-acted comedy-drama that keeps hope and heartbreak beautifully balanced’
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