REVIEW: The Night that Ali Died, Raising Cain Productions, Prague Fringe 2025 ★★★★☆

It’s in the title, and it’s announced in the first five minutes: Ali is going to die. Like most tragedies, this is an exploration of destiny. Is his death inevitable or do the choices he makes lead to this fate? In a bloody, gripping and exciting one-man show we explore where the blurry line between what is chosen and what is predestined.

A drug deal gone wrong, and a series of, frankly, very poor decisions lead to the end of Ali’s life. He’s a 28 year old “lab bitch” whose work involves ordering chemicals for a pharmaceutical company, cleaning lab equipment and keeping a record of the chemicals they have stocked. When he finds out his best friend is producing MDMA out of the lab, he decides to take matters into his own hands to get his friend out of a dangerous situation. This – as the title suggests – does not go well for him.

It’s a powerful exploration of determinism, with a fitting protagonist who seems very aware of the life set out in front of him. Ali has never veered from the path, never followed his dreams, only what society expected of him. He went to uni, got a master’s degree, a girlfriend and a baby – all the while dreaming of a life where he might one day be important. When he discovers that his friend is selling MDMA to a powerful gang – he’s almost admirative. He’s spent life making unoriginal choices and feels, in his own words, like a loser. He decides to take matters into his own hands and investigate his friend. It’s an inevitable spiral – and it is such fun to watch the pieces click into place.

Chris Sainton-Clark delivers a gripping performance, with seamless transitions between the characters, from his calm and collected DC Wiggins, to the frantic and angry Jason. The costume changes (while appreciated for added clarity) could be completely removed from the performance and very little distinction between the characters would be lost. While I think Ali’s character is masterfully tragic – I struggled with understanding Jason’s motivations. I think it is very difficult to write from the perspective of a contract killer – but I felt he was the least nuanced of the characters and leant towards caricature.

The play’s strength lies in its relentless tension and the haunting inevitability of Ali’s downfall. Though the narrative is grim, Sainton-Clark’s dynamic performance injects moments of dark humor and raw humanity, making Ali’s fate all the more devastating. The script cleverly toys with the idea of agency—was Ali always destined to meet this end, or did his own choices seal his doom? While Jason’s character could benefit from deeper exploration, the play remains a compelling meditation on free will and consequence.

It’s a bloody, gripping and intense tale. All thanks to an egg cress sandwich (and a few messy homicides).

Recommended Drink: A cup of tea or a line of coke? Are you taking the safe road or a risky highway? You might think you’ve made your choice – but it’s already been decided.

Catch The Night that Ali Died at the Museum of Alchemists until Saturday 31st. Tickets available on the Prague Fringe website.