Floor: Danielle Horton as HER, George Wright as HIM. Sofa: Tommy Tancock as HIS WOLF, Ellie Gallimore as HER WOLF. | Photo: Jan Davis Running at The Bread & Roses Theatre from 18–21 August 2026, best wishes, kind regards is a moving new play that explores the quiet moments that shape and ultimately unravel a relationship. We spoke to the creative team behind the production about the show's origins, its distinctive blend of text and movement, and what they hope audiences will take away from the experience.
Interview responses from: Rhiannon Ella Tomes (Writer & Director), Ellie Gallimore (Cast: Her Wolf), George Wright (Cast: Him), Danielle Horton (Cast: Her), Maisie Frater (Assistant Director) and Tommy Tancock (Cast: His Wolf).
Interview responses from: Rhiannon Ella Tomes (Writer & Director), Ellie Gallimore (Cast: Her Wolf), George Wright (Cast: Him), Danielle Horton (Cast: Her), Maisie Frater (Assistant Director) and Tommy Tancock (Cast: His Wolf).
Danielle Horton & George Wright. | Photo: Harry Miller Tell us a little bit about best wishes, kind regards, what is the story you’re bringing to Bread & Roses Theatre this August?
EG: best wishes, kind regards explores the unspoken intricacies and expressions that lie between what is said and what is unsaid in a romantic relationship. We follow ‘Him’ and ‘Her’, a couple who are all too familiar with uncomfortable silences, and ‘His Wolf’ and ‘Her Wolf’ who, out of this silent suppression, come to the forefront, unleashing a selfish fearlessness to express what’s been lacking from the very start of their relationship. Their deepest wants, worries and fears.
A couple who, from the outset, are doomed to separate. Not because they do not love one another, but because they cannot communicate what truly matters. ‘Him’ and ‘Her’ come face to face with their wolves, who help them fill in those awkward silences and untangle what they’ve miscommunicated and been yearning to say.
A beautifully confronting piece told in episodic vignettes, blending text and movement, capturing the way relationships are lived, remembered and ultimately lost.
EG: best wishes, kind regards explores the unspoken intricacies and expressions that lie between what is said and what is unsaid in a romantic relationship. We follow ‘Him’ and ‘Her’, a couple who are all too familiar with uncomfortable silences, and ‘His Wolf’ and ‘Her Wolf’ who, out of this silent suppression, come to the forefront, unleashing a selfish fearlessness to express what’s been lacking from the very start of their relationship. Their deepest wants, worries and fears.
A couple who, from the outset, are doomed to separate. Not because they do not love one another, but because they cannot communicate what truly matters. ‘Him’ and ‘Her’ come face to face with their wolves, who help them fill in those awkward silences and untangle what they’ve miscommunicated and been yearning to say.
A beautifully confronting piece told in episodic vignettes, blending text and movement, capturing the way relationships are lived, remembered and ultimately lost.
Tommy Tancock & Ellie Gallimore | Photo: Harry Miller Where did the idea for the piece come from and what inspired you to explore this story?
RET: To stay in line with what we’re preaching - open and honest - my last relationship. We had broken up on really great terms, an understanding that it just wasn’t working and we weren’t right for each other. But in the months that followed, I started considering, as one does, why couldn’t we make it work? What could I have done? What did I wish they had done? And it occurred to me that I had struggled throughout the relationship to actually be honest - with myself, and with them - about how I felt, what I wanted, and who I was deep down.
As someone who used to be incredibly open and emotional with my partners, I was really intrigued by this fear that had settled within me about allowing someone to really know who I was, and to let them in. And I had to admit that regardless of any other possible factors, mismatched interests, different life stages etc, the biggest downfall for us was this unwillingness to say what we wanted to say, and do what we wanted to do. Ironically - for the fear of the loss of the other person.
So I really wanted to open up that conversation with myself and others, and think about those parts of the self that we try to keep hidden - the elated moments, the dark bitter moods, the depth of the love, and the deep cut of a break up. Ultimately, you can have two perfectly good, ‘normal’, kind people, but does that mean they’re hiding a hurricane of emotion under a smooth surface? And what happens if you allow it to come out?
RET: To stay in line with what we’re preaching - open and honest - my last relationship. We had broken up on really great terms, an understanding that it just wasn’t working and we weren’t right for each other. But in the months that followed, I started considering, as one does, why couldn’t we make it work? What could I have done? What did I wish they had done? And it occurred to me that I had struggled throughout the relationship to actually be honest - with myself, and with them - about how I felt, what I wanted, and who I was deep down.
As someone who used to be incredibly open and emotional with my partners, I was really intrigued by this fear that had settled within me about allowing someone to really know who I was, and to let them in. And I had to admit that regardless of any other possible factors, mismatched interests, different life stages etc, the biggest downfall for us was this unwillingness to say what we wanted to say, and do what we wanted to do. Ironically - for the fear of the loss of the other person.
So I really wanted to open up that conversation with myself and others, and think about those parts of the self that we try to keep hidden - the elated moments, the dark bitter moods, the depth of the love, and the deep cut of a break up. Ultimately, you can have two perfectly good, ‘normal’, kind people, but does that mean they’re hiding a hurricane of emotion under a smooth surface? And what happens if you allow it to come out?
The team (left to right) Ellie Gallimore, Maisie Frater, Rhiannon Ella Tomes, George Wright, Tommy Tancock, Danielle Horton | Photo: Jan Davis Can you introduce us to the creative team and collaborators behind the production? How did this group of artists come together?
RET: I am incredibly lucky to have such a great team working on this show. While I had initially written some scenes, I knew I wanted to explore physicality and movement, and I was fortunate to have the opportunity to host an R&D week through the TheatreDeli x NDT Allotments scheme.
I had worked with the amazing George Wright (HIM) on several projects during my time at East15, and I was keen to work with him again. We hadn’t worked on anything this movement heavy, so it was a gamble from my end, but he agreed to come along without even knowing what the project was! What a gamble as well, because he is an incredible mover.
I called out for the other roles, and before long Danielle Horton (HER) had gotten in touch - another E15er! Dani’s background is in physical theatre, making her a perfect candidate, and within about 1 minute of chatting, I knew she’d be a great addition to the team.
Ellie Gallimore (HER WOLF) and Tommy Tancock (HIS WOLF) signed on right before the R&D week swung around, and fleshed out a cast of entirely East 15 graduates - I hadn’t worked with them but had seen them both perform while I was there and I was so excited to see what they would bring to the table.
Rounding off the team is our incredible Maisie Frater, multi talented, multi skilled, and an amazing presence in a rehearsal room. This is Maisie’s first role as an Assistant Director and she’s been just fabulous.
We had such a beautifully generous R&D experience - I think we all agree it’s been one of our favourite rooms to work in. We came out of that week with the blueprints of the show you’ll see this Summer, which was such an exciting result for us.
We adore our team; our rehearsals have been filled with energy, laughter, and genuine curiosity, which is all you can ask for as a director. I could talk about them for hours - this show would not be what it is without them.
RET: I am incredibly lucky to have such a great team working on this show. While I had initially written some scenes, I knew I wanted to explore physicality and movement, and I was fortunate to have the opportunity to host an R&D week through the TheatreDeli x NDT Allotments scheme.
I had worked with the amazing George Wright (HIM) on several projects during my time at East15, and I was keen to work with him again. We hadn’t worked on anything this movement heavy, so it was a gamble from my end, but he agreed to come along without even knowing what the project was! What a gamble as well, because he is an incredible mover.
I called out for the other roles, and before long Danielle Horton (HER) had gotten in touch - another E15er! Dani’s background is in physical theatre, making her a perfect candidate, and within about 1 minute of chatting, I knew she’d be a great addition to the team.
Ellie Gallimore (HER WOLF) and Tommy Tancock (HIS WOLF) signed on right before the R&D week swung around, and fleshed out a cast of entirely East 15 graduates - I hadn’t worked with them but had seen them both perform while I was there and I was so excited to see what they would bring to the table.
Rounding off the team is our incredible Maisie Frater, multi talented, multi skilled, and an amazing presence in a rehearsal room. This is Maisie’s first role as an Assistant Director and she’s been just fabulous.
We had such a beautifully generous R&D experience - I think we all agree it’s been one of our favourite rooms to work in. We came out of that week with the blueprints of the show you’ll see this Summer, which was such an exciting result for us.
We adore our team; our rehearsals have been filled with energy, laughter, and genuine curiosity, which is all you can ask for as a director. I could talk about them for hours - this show would not be what it is without them.
(from left to right) Tommy Tancock, George Wright, Danielle Horton, Ellie Gallimore | Photo: Harry Miller The show explores the things we think but don’t always say. What drew you to explore communication, silence, and the moments left unsaid within relationships?
EG: In a digital, dating age where being left “unread” or “dumped online” is becoming less uncommon, it creates a culture of unaccountability and avoidance, which means it’s easier for people to romantically remove themselves from situations often leading to uncertainty and non emotional closure. Therefore, I hope this show will encourage people to have brutally honest conversations about their relationship because we owe it to ourselves and our partners to be emotionally transparent and genuine.
The production features both characters and their inner wolves. Can you tell us more about this concept and how it shapes the storytelling?
GW: This show entails a large amount of physical theatre, which embodies repressed emotion within the relationship from all characters. The only time Him and Her are actually honest with each other is through movement.
The story is shaped by Him and Her going through the play using non-linear timeframes and episodic scenes throughout, so the audience can get a true representation of the highs and lows in the relationship…
EG: The relationship between the couple and their Wolves shapes the entire story. Especially how we interact on stage. During rehearsals we set clear boundaries to help with storytelling. For example, the Wolves can physically interact with each other and their respective humans. But the couple cannot distinctively hear their Wolves or communicate with them on stage. Crucially, the Wolves are not puppets or manipulators; they represent their ‘sixth sense’ or ‘inner voice’, so they can either act on this or ignore them. This rule gets results, sometimes dramatic, sometimes comedic.
The four characters are their own entities with individual motives and feelings. Wolves act as their humans’ biggest cheerleaders and are fiercely loyal. Ultimately, wanting to save them from emotional turmoil. During rehearsals we discussed their main differences. Humans often suppress their first emotional reaction and communicate logically, meaning the wolves surely had to act on their emotional impulse - saying what they mean, and meaning what they say.
EG: In a digital, dating age where being left “unread” or “dumped online” is becoming less uncommon, it creates a culture of unaccountability and avoidance, which means it’s easier for people to romantically remove themselves from situations often leading to uncertainty and non emotional closure. Therefore, I hope this show will encourage people to have brutally honest conversations about their relationship because we owe it to ourselves and our partners to be emotionally transparent and genuine.
The production features both characters and their inner wolves. Can you tell us more about this concept and how it shapes the storytelling?
GW: This show entails a large amount of physical theatre, which embodies repressed emotion within the relationship from all characters. The only time Him and Her are actually honest with each other is through movement.
The story is shaped by Him and Her going through the play using non-linear timeframes and episodic scenes throughout, so the audience can get a true representation of the highs and lows in the relationship…
EG: The relationship between the couple and their Wolves shapes the entire story. Especially how we interact on stage. During rehearsals we set clear boundaries to help with storytelling. For example, the Wolves can physically interact with each other and their respective humans. But the couple cannot distinctively hear their Wolves or communicate with them on stage. Crucially, the Wolves are not puppets or manipulators; they represent their ‘sixth sense’ or ‘inner voice’, so they can either act on this or ignore them. This rule gets results, sometimes dramatic, sometimes comedic.
The four characters are their own entities with individual motives and feelings. Wolves act as their humans’ biggest cheerleaders and are fiercely loyal. Ultimately, wanting to save them from emotional turmoil. During rehearsals we discussed their main differences. Humans often suppress their first emotional reaction and communicate logically, meaning the wolves surely had to act on their emotional impulse - saying what they mean, and meaning what they say.
Tommy Tancock & Ellie Gallimore | Photo: Harry Miller How have you approached bringing the show to life in the rehearsal room? What has the collaboration process been like between the cast and creative team?
DH: The cast and creative team have been amazing with bringing the show to life and collaborating - we have all come up with different ideas for the show and given each other the space to be able to expand on them. We were determined to give every idea a go in the rehearsal room, allowing us to discover, develop and understand the language of the show.
It’s been a really generous space to try things out and see what works, and, just as important for the collaboration process, what needs improvement. I’m extremely grateful for everyone in the room for being so open and honest with creating and devising, which has allowed the show to become personal and relatable to us as well as everyone watching.
Personally, I’ve always wanted to come into the rehearsal room with a couple of ideas for the scenes or movements that we are going to work on that day as well making sure that I bring energy to receive ideas and contribute to a playful and fun atmosphere for everyone to work together.
What can audiences expect when they come to see best wishes, kind regards? Is there anything about the style, performance, or atmosphere of the piece that you’d like them to know?
MF: I think they can expect to see parts of their own relationships reflected in it. I think there will be moments that everyone can relate to, but almost moments that have maybe felt out of reach before. Part of it is letting those beastly bits out, the bits you’d rather hide, and I think for some audience members that could feel quite encouraging, or even cathartic.
We sort of realised towards the end of the rehearsal process that really this is a kind of memory play. We’re presenting snippets, snatches of life, and with the mix of the physical dance-like movement, that creates a sort of dreamlike atmosphere. In some ways, it may feel a bit like whiplash as we move through these different feelings and moments in time, but I think that’s quite a realistic sense of what going through a break up feels like.
I think if you like stories like Normal People, or 500 Days of Summer, or have ever rooted for a couple that were never really going to work out, then you’ll probably like our show!
DH: The cast and creative team have been amazing with bringing the show to life and collaborating - we have all come up with different ideas for the show and given each other the space to be able to expand on them. We were determined to give every idea a go in the rehearsal room, allowing us to discover, develop and understand the language of the show.
It’s been a really generous space to try things out and see what works, and, just as important for the collaboration process, what needs improvement. I’m extremely grateful for everyone in the room for being so open and honest with creating and devising, which has allowed the show to become personal and relatable to us as well as everyone watching.
Personally, I’ve always wanted to come into the rehearsal room with a couple of ideas for the scenes or movements that we are going to work on that day as well making sure that I bring energy to receive ideas and contribute to a playful and fun atmosphere for everyone to work together.
What can audiences expect when they come to see best wishes, kind regards? Is there anything about the style, performance, or atmosphere of the piece that you’d like them to know?
MF: I think they can expect to see parts of their own relationships reflected in it. I think there will be moments that everyone can relate to, but almost moments that have maybe felt out of reach before. Part of it is letting those beastly bits out, the bits you’d rather hide, and I think for some audience members that could feel quite encouraging, or even cathartic.
We sort of realised towards the end of the rehearsal process that really this is a kind of memory play. We’re presenting snippets, snatches of life, and with the mix of the physical dance-like movement, that creates a sort of dreamlike atmosphere. In some ways, it may feel a bit like whiplash as we move through these different feelings and moments in time, but I think that’s quite a realistic sense of what going through a break up feels like.
I think if you like stories like Normal People, or 500 Days of Summer, or have ever rooted for a couple that were never really going to work out, then you’ll probably like our show!
Danielle Horton, Tommy Tancock, George Wright, Ellie Gallimore | Photo: Jan Davis What do you hope audiences take away from the show after watching it?
TT: Hopefully it would be that they look at their own experiences of love, and loves lost, and see what speaks to them. There are so many themes touched on in the play that I think will resonate with people, and it would be nice to know that people are able to look inward and discover what parts of the characters they align with. This goes for the good and the bad parts, no judgement! I think the piece will allow people to reflect on many elements of their own relationships.
Why did you choose Bread & Roses Theatre as the home for this production?
RET: I think overall, this show is incredibly intimate. It’s about our inner selves, our vulnerable spaces inside a relationship. It’s about love, and loss, and that sense of being lonely even when you’re right next to someone. I’ve always been a fan of smaller, more intimate venues and I think they lend themselves incredibly well to theatre like this. Bread & Roses is one such venue, and I am so excited that this production will make its London debut here! Its reputation for Fringe Theatre and championing early career artists is amazing, and we all feel super lucky to be a part of what the B&R team have created.
What’s next for the company and the team after this run?
EG: We hope to have another limited run in London! The collaborative process has made this show extremely special and the buzz from our Chichester run confirmed a real appetite for more expressive, dynamic storytelling.
RET: We’re so proud of this show, and I’d love to see it develop further - I think we can already see a more detailed draft we’d like to take on in the future. But also I just love this team - and I haven’t spoken to them about it yet, but I’d just be so excited to see what other projects we could collaborate on. I just think it would be such a shame if our collaboration doesn’t move even further than this show.
best wishes, kind regards runs 18 - 2 August 2026 at The Bread & Roses Theatre, find out more and book here
TT: Hopefully it would be that they look at their own experiences of love, and loves lost, and see what speaks to them. There are so many themes touched on in the play that I think will resonate with people, and it would be nice to know that people are able to look inward and discover what parts of the characters they align with. This goes for the good and the bad parts, no judgement! I think the piece will allow people to reflect on many elements of their own relationships.
Why did you choose Bread & Roses Theatre as the home for this production?
RET: I think overall, this show is incredibly intimate. It’s about our inner selves, our vulnerable spaces inside a relationship. It’s about love, and loss, and that sense of being lonely even when you’re right next to someone. I’ve always been a fan of smaller, more intimate venues and I think they lend themselves incredibly well to theatre like this. Bread & Roses is one such venue, and I am so excited that this production will make its London debut here! Its reputation for Fringe Theatre and championing early career artists is amazing, and we all feel super lucky to be a part of what the B&R team have created.
What’s next for the company and the team after this run?
EG: We hope to have another limited run in London! The collaborative process has made this show extremely special and the buzz from our Chichester run confirmed a real appetite for more expressive, dynamic storytelling.
RET: We’re so proud of this show, and I’d love to see it develop further - I think we can already see a more detailed draft we’d like to take on in the future. But also I just love this team - and I haven’t spoken to them about it yet, but I’d just be so excited to see what other projects we could collaborate on. I just think it would be such a shame if our collaboration doesn’t move even further than this show.
best wishes, kind regards runs 18 - 2 August 2026 at The Bread & Roses Theatre, find out more and book here
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