Wimborne Drama Productions 
Tivoli Theatre, Wimborne
Susanna Greenwood 
20 February 2026
Writers Laurence Marks and Maurice Gran are best known for their celebrated television comedies, including Birds of a Feather and Goodnight Sweetheart. In Von Ribbentrop’s Watch, however, they turn to domestic drama, inspired by Marks’ own experience of buying a vintage watch and subsequently discovering it once belonged to convicted Nazi war criminal Joachim Von Ribbentrop – Foreign Minister of Nazi Germany who was executed following the Nuremberg Trials.
In this reimagining, we meet Gerald Roth, patriarch of a Jewish family in Middlesex. A struggling wine merchant, he sends his inherited watch for repair and what begins as a routine task becomes a profound moral dilemma. Gerald learns of its dark origins which make it a valuable albeit tainted heirloom. We follow his journey through the implications of his discovery, his initial outrage and disgust; does ownership of such an article make him complicit in the previous owner’s actions? Gerald’s internal struggle grows as he faces financial pressures and we see how it affects his relationships with those closest to him as they unravel the secrets of the watch.
This is a challenging piece in many ways, its dialogue-driven within a simple domestic setting and therefore wholly reliant on the characterisation of the family members. The set, beautifully crafted, reflects the home of Gerald and wife Ruth as they celebrate Passover with other family members.
Stuart Glossop plays Gerald with authenticity and energy. His physical humour makes him instantly relatable and consistently engaging. Most compelling, is his gradual shift from principled patriarch to morally adrift opportunist, tentatively capitalising on an unexpected windfall.
Molly Jackson as Gerald’s wife Ruth, complements Glossop with charm and wit. Her frequent asides, often sarcastic retorts to her unforgiving mother-in-law – Lila Roth, provide light relief. At times, she is rather too compelling while performing her domestic duties whilst the action happens elsewhere on the split stage. Although her portrayal of domestic routines feels natural and lived-in, further emphasising the contrast between ordinary family life and the weight of historical revelation. There are moments, however, particularly in the second act, when Ruth’s reaction to Gerald’s deceit could have been more emotionally charged as these sometimes felt a little too controlled.
Judy Garrett excels as Lila Roth, Gerald’s domineering mother. Like Gerald she is thrust on an emotional journey as the plot reveals more twists and turns and we see her transcend from the domineering and fiendish matriarch, reduced to a submissive and apologetic passenger. Garrett delivers a very strong performance and is strangely likeable even in her meanest moments. She has a recognisable relationship with her granddaughter, Sasha, played with conviction and sincerity by Sali Pike.
David Roth, Gerald’s brother, appears the more solid, down-to-earth and pragmatic of the brothers. Andy Gill does a good job at highlighting the younger brother’s emotional turmoil, recently bereaved following the death of his wife, and his growing resentment at feeling overlooked by his father. The growing rift between the brothers is played well culminating in a physical fight that is believable in its clumsiness.
Supporting roles of Mr Blackburn and The Collector are played convincingly by Michael Mackey and Sam Moulton, respectively.
There are occasional dips in pace, with some slow cues, and scenes involving subplots such as Sasha’s romance, feel a little drawn out. However, these are minor issues in what is otherwise a thought-provoking tale, brought to life credibly by Wimborne Drama Productions.
