Not so long ago, commercial theatre
producers would occasionally take a punt on booking a West End slot for
a play that had no big-name writer or actor attached to it, but simply
looked like a good piece of work. Now, with even non-musical playhouses
hosting ever more musicals, the best an emerging writing talent like
Ella Hickson can manage is the small basement space in Trafalgar
Studios: geographically it’s West End, but in terms of size and
profile, some way away.
Hickson
deserves more. She is not really edgy enough to sit four-square
amongst the Royal Court’s expanding phalanx of young women writers,
though her current playwriting residency at the Lyric Hammersmith may
bear more succulent fruit.
Precious Little Talent is her first play as such:
Eight,
a series of monologues, took her from a student venue on the Edinburgh
Fringe to New York in 2008, and the following Fringe season I saw the
first 50-minute version of this play in the same venue. Now expanded by
a further half-hour, it is a simple three-hander, set over Christmas
2008. Joey travels from England to turn up unannounced at her father’s
flat in New York, and is surprised to find there Sam, a young man with
whom she has just had an intense (though non-sexual) evening. It is
strange to find a 19-year-old man spending so much time with a
60-year-old, especially one as cantankerous as George, who is offhand,
forgetful and irascible towards Joey. She comes to realise, as we have
known throughout, that Sam is George’s carer, and George is
deliberately trying to alienate his daughter before his early-onset
dementia does it for him, far more agonisingly.
There
is no great catastrophe, simply a three-way coming-to-terms. Olivia
Hallinan could perhaps take Joey on a little more of a journey from
initial uncertainty about her path in life to at least a slightly
greater openness to possibility, but Hickson herself does not over-sell
this aspect (except with a final reference to Obama’s inauguration,
described in new-dawn terms which may now seem unintentionally ironic
to some). James Dacre directs with delicacy; Anthony Welsh makes a fine
Sam and Ian Gelder brings out all the complexities and poignancies in
the role of George. I hope we may see Hickson
properly in the West End before too long.
Written for the Financial
Times.