The world premiere of a haunting new play set in Russia's criminal underworld.

Contemporary Moscow. Sasha, a young lawyer, is approached by charismatic bandit, Sergei Medvedev. Recently escaped from prison with a series of fresh raids behind him, Medvedev's ‘connections’ leave Sasha with little choice but to delve into the mysteries of the criminal's past…

The ensuing investigation brings Sasha face to face with victims across the city - from Georgian marketeers to Romany gypsies. Questions immediately surface. What role did Medvedev actually play in these crimes? Who is the 'fellow countryman' paying Sasha on Medvedev's behalf? Uncertain of the truth and embroiled in a dangerous game, the lawyer soon becomes aware of a new relationship forming - between his wife and his enigmatic client.

Rich in the atmosphere of Russian folklore, The End of the Sentence is a psychological thriller inspired by real events. It is also a jigsaw puzzle that fits together in more than one way.

The Sticking Place’s previous productions include The Lie at the King’s Head.
"Flamboyant .... sublime .... a maelstrom of revenge and rivalry." Time Out
"Vivid drama.... an intriguing and entertaining whodunnit." The Times
"Strong performances in Adam Meggido’s increasingly tense, menacing production for The Sticking Place..." The Stage
"fascinating .... dynamic.... inspired.... a thrusting and vigorous interpretation" Evening Standard

The Press on The End of the Sentence
"This intriguing play is set in 1990's Moscow and is about a violent mafioso type criminal Sergei . . .The relationship between him and the unworldly tax lawyer Sasha, whom Sergei has chosen as his defence counsel, is suffused with the dark themes of obsession, mind games, and the terrible remorselessness of the professional killer. . . This experience has been amply rewarded with Freesons rich dialogue which is in flowing English, but tinted with the distinctive cadences of a melodic Russian. The actors bring this flavour out superbly. . . Sergei is an unexpected, engaging and finely drawn character . . .played to the hilt by Jason Simmons, who easily combines a graceful charm with the ruthlessness of a serial killer. Simmons spent three years as the lifeguard Logan Fowler in Baywatch and is now revelling in dark, complex characters. . . Ben Nealon is intense and revealing as Sasha . . . Directed by Adam Meggido, with subtle and clever lighting by Mark Dymock, this is a powerful and moving production."
Julia Hickman, Theatreworld Internet Magazine

"The mystery and intrigue created by Freeson . . . the script is gripping. . . Strong performances . . . Jason Simmons exudes sinister charm. Ben Nealon is suitably bewildered as Sasha and theres a convincing study of bad-boy worship from Samia Rida as Valentina." Helen Chappell, What's On in London

"Jeremy Freeson's psychological thriller . . .captures and holds the attention with a believable and chilling picture of the power of the amoral criminal mind . . . Adam Meggidos direction moves the play fluidly through a series of scenes and sustains the tone of growing menace. Jason Simmons gives the criminal an intensity approaching madness along with an unctuous charm that fascinates the audience as it does the other characters . . . Jiggy Bhore brings solid authority to the role of a mystic both victims are driven to consult." Gerald Berkowitz, The Stage

"Oddly compelling. . .gripping moments . . .The air bristles with sexual tension." Madeleine North, Time Out