“‘The Utility People’ was comedy gold. A fiendishly sardonic look at guardianista gentrified armchair socialists…There is a dark polemic twist near the conclusion that, had the writer ended it there, would have ruined the story, but it is a tragicomedy that clearly forces us to re-evaluate our smugness about our beliefs and morality and what our convictions make of us. So it doesn’t sit and preach at us, but complicates things through comedy with a sharp edge to it.” Hackney Hive.

“Uneasy chuckles were quickly disguised by embarrassed coughs, as people began to realise exactly what they had been laughing at….You are left questioning not only your own values and your notion of yourself as a good person, but also the future of Britain itself.” Last Minute Theatre Tickets.

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“This second piece really went for the political overtones, but in a way so subtle and alongside such successful comedy that the audience felt torn as to whether laugh or cry. It makes the audience question their political stance before they even realise they are doing it.” The Public Reviews.

“Michael Ross’ script is pared and articulate. Initial favour descends to abuse of the immigrants’ goodwill, and you think the wife nuts for considering it sustainable. But it’s a doubly clever exposition of the wafer-thin pretences of Champagne Socialism (or its poor Prosecco cousin). Chloe berates colonialism prior to adopting its model, dexterously justifying slave labour in her un-stateliest of homes…” What’s On London.

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“If the first half satirises the Daily Mail readers of the UKBA, the focus here is firmly on Guardian types (Chloe even works there). Jake and Chloe are every inch a pair of granola-eating sandalistas – one of the books on their kitchen table is the Abel & Cole Vegbox Book. When the mother and son are discovered in the broom cupboard, Chloe’s first reaction is that they shouldn’t hand them over…” One Stop Arts.

“The son, played by Theo Ancient, really comes into his own as he’s given a real voice to proclaim damnation of the way immigrants are treated around the world. As he eloquently sums up the moral and legal system of immigration in the UK, I was literally blown away. Articulating and applying a magnifying glass to the situation, he underpinned the hopes, fears and realities of immigration against the privileges of those living here….A very deserving play, well structured, rehearsed and it definitely had me thinking about the privilege associated with my British passport.” Frost Magazine.

“a truly hysterical farce” What’s Peen Seen.  


“deeply unnerving….This play shone a light on the very high price that some individuals have to pay merely for attempting to tell the truth.” Vada Magazine.


“This is a well constructed and thought provoking play….” The London Magazine. Read full review here;

Reviews for THEY WON’T KILL YOU:

“The play is full of twists and turns and complemented by fluid, clever writing…..They Won’t KIll You is only Ross’s second play, yet he writes with confidence, with a fresh look at the status quo….” The British Theatre Guide. Read full review here;

“This is Ross’s second play – and judging by the mastery with which he handles his material, he is well worth watching out for.” Socialist Worker. Read full review here;

“fun, sparky and full of ideas,” The Stage read full review here;