Broken Water-  Arcola, London

Writer: Michèle Winstanley

Director: Nicola Samer

Broken Water navigates the intricate narratives of three women, delving into their distinct journeys with fertility, childbirth, and motherhood. The production opens with three generations of women, each seated separately, sharing personal accounts of their water breaking. Over the course of the story, Linda grapples with fertility challenges, Philipa reflects on the choices between motherhood and career pursuits, while Olive confronts traumatic memories.

 Regrettably, Michèle Winstanley’s writing falls short of delivering the necessary dramatic impact. The structural limitations, marked by sparse character interactions, hinder the development of chemistry and conflict. The explicit dialogue lacks subtext, resulting in performances that lean toward the artificial. There is a need for a more profound exploration of the motivations driving each character’s pregnancy journey, providing a richer context to the unfolding narratives as well as a deeper purpose of why these specific stories are being told. The unsatisfying conclusion is marred by an improbable encounter and a lack of a well-crafted build-up and resolution.

The performances are somewhat heightened for the intimate venue and struggle to establish a meaningful connection with the audience. Notable exception Sarah Hadland effectively employs physical comedy and gives a moving performance at times, yet overall, the acting tends to be superficial, marked by overemphasized enunciation and repetitive movements rather than embodying the characters authentically. The abrupt shift from storytelling to emotional outbursts leads to moments that feel unconvincing and disconnected. The cast’s multirole efforts, unfortunately, fall prey to stereotypes and lack seamless integration.

Director Nicola Samer’s vision creates a clinical and stereotypically feminine environment that clashes with the ‘emotive’ nature of the writing, occasionally veering into clichés. However, Samer’s adept utilization of the ensemble adds layers to the storytelling, smoothly transitioning from observers to integral parts of the narrative. Odinn Orn Hilmarsson’s sound design, while at times intrusive due to abrupt transitions, effectively conveys a subjective perspective on the pain and anguish experienced by the characters.

While Broken Water holds the potential for a compelling exploration of its thematic concept, the execution falls short of achieving a truly moving experience. Both the storytelling and production lack the finesse required to authentically capture the emotional depth of the characters’ journeys.

Runs until 24 February 2024