Aside from the play’s impactful message, But We’re Right is such an eloquent representation of the true craft of theatre. From the fast-paced dialogue that often felt like poetry, to the use of a single step ladder for staging, to bold lighting shifts, the show’s execution is masterful in its own right.
By focusing almost entirely around the dialogue of the two young women, Morghan Welt so succinctly guides the audience into the right-wing minds of Europe’s future generation. Including both sides of the argument, she covers key political issues such as freedom of speech, the migrant experience, xenophobia, and racism with such tenacity it forces you to question your own political stance.
Though a controversial topic, But We’re Right is so powerful and thought-provoking it’s more than fair to say Welt has created a discourse essential to the conversation.
The Student Newspaper Edinburgh, August 2025
Thought provoking and provocative, But We’re Right aims to explore the growing right wing sentiments. The staging was incredibly simple but purposful.
A single ladder, the only piece of set, proves versatile; moved and used in many different ways. Everyday objects are well used throughout, the most effective being a ball which comes a poignant symbol as the play progresses.
The play is interspersed with voice recorded segments of ‘The Cross Border Chorus’. […] These moments are poignant and a stark contrast to the rhetoric in the play itself. It forces a look at the other side, the human face (or in this case voice) of ‘the other’ that the characters are fearing.
The Reviewshub, May 2025
A country with a long, painful history of emigration from the Famine ships of the 19th century to economic exile in the 20th now finds itself turning away others in desperate need. But We’re Right steps into this uneasy paradox, asking how a nation built on the experience of displacement can so easily forget what it means to seek shelter elsewhere.
The Nerd Party, August 2025
But We’re Right is one of the freshest, bravest and most intelligent theatrical responses to the issue of immigration, with this fledgling company displaying an abundance of dramatic and theatrical smarts. Delivering politically engaged theatre with a committed cast, risk taking writer and director [Morghan Welt], and a passionate script, with a ladder and football thrown in for good measure.
Theatrically, But We’re Right shows a triumph of imagination over budget. Eschewing the graffiti realism of its previous staging, a ladder is used to cleverly suggest status and reinvigorate the playing space […]. When it comes to props, not since The Changeling has a ball been employed to such perfect and haunting effect. Throughout, Welt’s compositional direction is clever and assured.
It is, by far, one of the smartest political productions, thematically and theatrical, currently doing the circuit.
The Arts Review, May 2025