Enough is ENOUGH | ENOUGH. | ⭐⭐⭐⭐⭐ | Moonstone Theatre | The Mile at SpaceUK
- Ruth West
- Aug 27
- 4 min read
Updated: Sep 1
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There are moments in theatre when the air seems to shift, when an audience sits a little straighter, pulses quicken, and the silence deepens into something potent. ENOUGH., performed by Moonstone Theatre Company at the 2025 Edinburgh Fringe Festival, creates precisely this kind of moment—an unflinching, beautifully wrought confrontation that lingers long after the final blackout.
The story of ENOUGH. follows Irie, a fresh recruit in the Metropolitan Police, whose optimism collides head-on with institutional silence, corruption and injustice. Through Irie’s perspective, the audience is drawn in not just as observers but as participants in her fight, a battle that feels both intimately personal and disturbingly universal.
Each scene is infused with raw honesty, grounded in the realities of its environment. There is no neat catharsis, no easy answers — only the relentless pressure of truth closing in on all sides. That truth is stark: women and people of colour are still denied equal rights and opportunities within the UK police force. Those who remain are fighting to survive inside an institution which all too often refuses to fight for them.
The company’s commitment shines in every detail of the production, from the focused minimalism of the set to the haunting underscoring that thrums beneath Irie’s monologues. Moonstone is not interested in spectacle for spectacle’s sake; instead, they place their trust in both the script and the intelligence and empathy of their audience.
Central to ENOUGH. is its extraordinary ensemble of actors, each of whom brings a searing authenticity to the stage. Riah Amelle’s portrayal of Irie is a revelation as she guides the audience through the twists and turns, the contradictions and despair, we feel every devastating blow.
The supporting cast, too, are outstanding. Emily Hunter and Gemma Green paint a world where bureaucratic doublespeak and a complete lack of compassion collide. They effortlessly find a delicate balance of loyalty laced with unease, laughter that barely veils the fear beneath. These moments are played with unforced naturalism, making the story’s eventual descent into crisis all the more earth shattering.
ENOUGH.’s direction is marked by a harsh simplicity. With a script this charged it could have slipped into melodrama or the familiarity of a TV soap. Instead, Kitty Ball grounds the production in naturalism, punctuating it with striking moments of physical theatre and the surreal nature of Irie’s monologues. The result is storytelling which is both powerful but somehow still beautiful. Emily Hunter’s razor-sharp script is meticulously moulded in Ball’s hands, becoming layered and deeply affecting.
To watch ENOUGH. is to be implicated. There is no comfortable distance, no way to remain neutral. The audience is drawn in, made to feel the weight of every choice, every silence and every compromise. It is not easy theatre, but it isn’t meant to be. It is theatre that challenges and unsettles you. It demands to be felt. For a Fringe full of comedy, music and spectacle, this show is a stark reminder of the power theatre has to be a rallying cry for revolution. These silenced voices have finally been allowed to speak: Let’s hope that change is also close by.
The Arts Business Top Tips
Tell the hard truths.
ENOUGH. doesn’t shy away from uncomfortable realities and neither should businesses.
Customers increasingly want transparency, not sugar-coating. So tell it how it really is, the struggle is part of the climb after all.
Brands that are honest about their challenges (as well as their successes) build far deeper trust.
Clarity over clutter.
The show’s power comes from its simplicity — a clean, sharp production where every word matters.
In a festival that traditionally hosts shows that are an hour long they stuck to their guns, keeping the show at a tight 45 minutes.
In marketing, strip away noise, focus on the core message, and deliver it with impact.
Don’t feel obliged to follow the crowd. You don’t have to do what everyone else is doing, so listen to your gut, you know your brand best.
Authenticity wins.
Each scene feels raw and true, connecting with audiences on a visceral level.
Experts by experience were invited to review the script of the show making it feel more genuine. Hunter has never worked in the police force, so she invited women who had to see the show who offered technical terminology and jargon to help the writing ring true.
A brand story that feels real resonates far more than a polished façade, so tell your own story. If you don’t know something, simply ask someone who does. You would be surprised how many people are willing to help.
Open yourself up to collaborative opportunity. Go to networking events, run focus groups, host workshops, send messages on LinkedIn, research Facebook Groups. Do whatever you need to do to best support your business.
Create participation, not just consumption.
Through Irie’s journey, the audience is drawn in as participants in the struggle. They cannot help but leave questioning the police system and wanting to see justice.
Invite your audience to be part of your mission, not just passive spectators. This can be something as simple as asking your customers to comment on a post or fill out a questionnaire to running apprenticeships or requesting user generated content.
Lean into courage.
ENOUGH. Is the embodiment of courage — tackling an institution many fear to criticise. By being brave they are raising important questions and demanding answers.
Courage in decision-making, innovation, and standing up for values sets leaders apart.
To quote Susan Jeffers: ‘Feel the fear and do it anyway.’ It’s ok to be scared, but courage is found in fighting against the imposter syndrome in your head and getting on with it.
Like ENOUGH, your brand story can be both powerful and purposeful if you dare to be honest, authentic, and courageous. When you lead with integrity, your audience won’t just listen — they’ll rally behind you.
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