This month alone has already seen
significant London openings of plays written by actors Phoebe
Waller-Bridge (
Fleabag),
Louise Brealey (
Pope Joan) and
Simon Callow (
Inside Wagner’s Head,
which admittedly is stretching “play” a bit). Now Rory Kinnear – the
chief of staff in the James Bond movies to some, a thrilling Hamlet and
Iago at the National Theatre to others – presents his first work as a
playwright, and shows a keenness to get right down to the emotional
nitty gritty and a thoughtfulness and sensitivity in dealing with it
once he’s there.
We never see Andy arrive home for his 21st birthday party, and perhaps
we never could on a stage: he is, we learn piecemeal, severely
disabled, with a mental age of ten months and was not expected to live
past 19. What we see are just under two continuous hours of
preparations for the event and the anticipation of the arrival by
Andy’s mother, grandparents and sister and the latter’s boyfriend who
is meeting the Wilkinson clan for the first time. At first they seem a
little like a family who are not really dysfunctional but certainly
strong carriers of the annoying gene; hpwever, this is both clarified
and exploded by the unexpected arrival of Andy’s father, long since
divorced from his mother. What follows is a portrait of unstinting love
and heroic dedication in one direction which sublimates into corrosive
hatred, competitive martyrdom and inflexible unforgiveness in several
others.
Howard Davies’ production is characteristically supple, and there is no
weak performance among the high-calibre cast of six: Amanda Root as
mother Carol, Anna Calder-Marshall and Kenneth Cranham as grandparents
Patricia and Brian, the aforementioned Louise Brealey as sister Claire,
Adrian Bower as her squeeze Mark and Adrian Rawlins as father Ian.
Kinnear’s dramatic structure clunks occasionally, with conspicuously
convenient entrances and exits and a predictable bait-and-switch
ending. It’s also too lackadaisical in its middle-class location:
no-one has or ever had an identifiable job as such, so how do they meet
the costs of Andy’s care and still live so comfortably? (I would love
to see exactly the same text performed in a council-house setting: some
elements would resonate far differently, though the meat of the
interaction would I think be entirely unchanged.) But this first play
shows rigour in investigating an extreme instance of the cost of love,
and Kinnear has added a tensile second string to his bow.
Written for the Financial
Times.