Real estate is often considered a dirty business, but Dealing with Clair pushes it into far darker territory, where questionable morals, manipulation and quiet menace lurk beneath polite conversations.

Written by British playwright Martin Crimp, this psychological satire is inspired by the true story of London real estate agent Suzy Lamplugh, who disappeared after showing a client through a property in 1986. The tragedy is subtly foreshadowed from the outset when Clair remarks, “Maybe I’ll just make a killing and vanish.” The unsettling line establishes the ominous mood of the thriller.

Harry Reid directs the production with contained volatility, allowing uncomfortable conversations and an ever-present sense that something isn’t quite right to gradually build tension and suspense. Conversations overlap as everyone pursues their own agenda, revealing an inability to truly connect. Questions of integrity are raised repeatedly, yet everyone is willing to lower their moral standards for the right price.  

Leading the cast Olivia Hall-Smith delivers a compelling performance as young real estate agent Clair. So determined to secure the sale that she accepts increasingly uncomfortable client behaviour with professional composure. When she finally reaches breaking point, the shift lands perfectly.

This isn’t a production that invites much audience empathy. Each character keeps the audience at arm’s length. In particular married couple Mike (Arikia Ashraf) and Liz (Talia Benatar), whose London home Clair is attempting to sell. The pair repeatedly ignore the cries of their baby daughter, calling for the nanny Anna (Jade Fuda), whenever she wakes. Ashraf captures Mike’s quintessentially British politeness, making his eventual outburst all the more startling. Benatar’s Liz similarly exposes jealousy and quiet snobbery, while Mike and Anna’s awkward exchanges are laced with subtle sexual tension and cultural misunderstanding.

Daniel Fletcher is quietly unnerving as potential buyer James, presenting an outwardly courteous and disarming figure whose endless questions suggest he knows far more about Clair’s home life than he should. Bayley Prendergast moves seamlessly between multiple roles, from fellow estate agent to builder, giving each character a distinct presence.

Soham Apte’s set design cleverly contrasts the modest, worn furniture with the high-end properties being discussed. The sparse design, complemented by a series of translucent sliding screens, reinforces the play’s quiet menace. Izzy Morrissey’s lighting design is inventive, with tracking lights synchronised to the sound of passing trains to create the illusion of a train rushing by. Combined with Reid’s pulsing sound design between scenes, the effect is one of mounting dread.

Dialect coach Linda Nicholls-Gidley guides the cast through authentic upper-middle-class British accents and speech patterns. Expressions such as “I say” and “of course” further ground the production in Britain.

Dealing with Clair continually asks, “Who are the nice people?” Beneath polished facades lie compromised morals and hidden motives. Crimp exposes human behaviour at its worst, where wealth, privilege and manipulation shape interaction. Exploitation underpins the production despite each character’s insistence on their own honour. “It’s a hateful business” lingers as a chilling reflection that’s about more than just real estate; it’s about human nature itself.

4 stars

Presented by Irregular Programming Dealing with Clair is playing at the Old Fitz Theatre in Woolloomooloo, Sydney until 25 July 2026.

Run Time: 100 minutes (no interval)

For tickets visit Old Fitz Theatre