Ripper? I Hardly Know Her!

Ripper? I Hardly Know Her! is a new play written and directed by Adam Mir about Mary and her relationship with Jack. Three weeks in and she fancies the pants off him but can’t seem to understand what goes on in his head. At the end of the first act — after individual counsel from both her mother and best friend, and prompted by a rather horrid encounter with her landlord — she finds a large, bloody kitchen knife in her drawers and begins to wonder exactly who her new boyfriend is. 

Cue act two when bumbling PC Bobby Dick knocks on the door to ask some questions about the recent local murder spree. Getting distracted by the cabinets (he and the wife are looking for some new furniture, it just so happens), he uncovers a trench coat and a top hat, which, paired with the kitchen knife, confirm Mary’s fears. The copper does not make the connection however and heads off, leaving Mary to wait for Jack to get home.

The often silly comedy is underpinned by rounded characters, cleverly utilised dramatic techniques, clean choreography, impactful music, effective tech and wonderful costumes. 

Rachel Simm as Mary carries the show, giving a fine blend of comedic character acting, explosive drama and heartfelt realism. Nicky Vatvani’s Jack gives a far more physically driven performance, offering a deranged, unhinged monster undercut by some hilarious choices.

The cast is rounded out by Tallula White’s no-nonsense Margaret, Mary’s mum, Bertie Pearson as Susan, Mary’s kleptomaniac best mate who supports Mary’s concerns while eating all her biscuits and waving a string of sausages around, Daniel Golding’s slimy, nasty Mr Landlord and Joseph Hollas’ hilariously idiotic PC Bobby.

The cast all seem to be incredibly comfortable comedic actors, and have no concerns diving head first into firm decisions that certainly pay off. The episodic nature of the production means that a lot of characters don’t interact which seems a shame as they are all so distinct.

A few of the scenes are separated by the casual musings of two rats, played by Hollas and Golding, who muse on such ratty things as one’s wife liking cheese too much, how disgusting the river Thames is, and the fear of cats. While nothing to do with the plot, the vehicle supports the comedic nature of the show and cuts moments of tension authentically and amusingly.

The show marks Mir’s directorial debut “and a continuation in exploring the boundations that comedy has to offer from the satirical to the farcical” (or at least, that is what his bio says). The production is a roaring success, and Mir’s use of varied dramatic vehicles – including lots of physical and prop comedy, both comedic and dramatic choreography, and a wonderfully blatant disregard for the fourth wall – keeps the audience and the cast on their toes.

The attention to detail throughout is impeccable, with foundations set by Nathaniel Mir’s production design, Frankie Short’s costume design and Sas Hughes’ lighting and sound design. The elements work together seamlessly, complimenting the performances onstage and the audience experience in general. Joe Chapman’s compositions for the production round the piece out into an experience to be expected of a mature production company – much less Chapman’s first original music for theatre. 

The short of it – I’m certainly excited to see what is next for Mir, Ripper, and its cast and crew.

The production can be found on instagram at @ripperihardlyknowher. It played at The Courtyard Theatre, London, 14-17th October 2025.

Some thoughts I had during the show about the shocking parallels to modern dating/life: