Isabelle – Middle Child Theatre, Hull

Writer: Marc Graham

Director: Paul Smith

This is Middle Child’s first production in their new studio theatre, converted from a nail salon at 69 Humber Street in Hull’s Fruit Market. By great ingenuity in terms of space, Middle Child has managed to squeeze in 70-plus seats in a steep rake and sufficient toilets, the stage adequate, if entries can be somewhat awkward. Black-out curtains are used to good effect, there is no permanent box office – and a neighbouring bar supplies drinks in plastic glasses for in-house consumption.

You can sense a great deal of good will from businesses on the street towards this unusual theatre building which will be used as a home for original plays. The first one, Isabelle, inspired boisterous laughter at the early stages which, whilst expressing support for the new venture, led one to expect a comedy (which it is not).

Isabelle’s three children join her for a Christmas celebration, one, Cate, having travelled from London, the other two, Ben and Emmaeline, local. All at first seems normal, bickering and allusions to past feuds par for the course. Oddly one is reminded of Noel Coward’s Bliss family with added expletives. Ben, a Liberal Democrat councillor, seems a particular target for Isabelle who is a former big noise in the Labour Party. The first real bone of contention comes when Isabelle announces she plans to give up the house, in which all the children grew up, and move to somewhere sunny.

This prompts a debate on the rights of ownership. Isabelle indicates that, rather than leave the house to her children, she will sell it and give them what they need and no more. What price memories? Revelations about past gifts come tumbling out, jealousies surface.

Meanwhile a shy, almost tongue-tied stranger enters through the unlocked door. After a while he spray-paints a left-wing slogan on the windows of the house and is  forced by the family to state his credo – and that is where the whole family structure breaks down. The closing minutes of the play are highly unlikely (no spoiler), with the efforts of Matthew Tuckey (sound) and Adam Foley (lighting) combining to give the ending a spurious drama.

Marc Graham has a real gift for snappy dialogue and Paul Smith’s production and Bethany Wells’ design both make admirable use of an acting area of limited depth.  All five actors are well in control of the sudden shifts in their behaviour, even Ben (Jack Chamberlain) whose outbursts make one wonder how he got elected. Kate Hampson is well in charge as Isabelle, with Kate Singh as the dependent Emmaline and Emily Head as the London-fixated Cate nicely contrasted. Sam Waites negotiates the change from wordless to voluble effectively.

Graham has a good point to make about inherited wealth and chooses the perfect setting to make it, but his treatment increasingly parts company with reality.

Nevertheless, a promising start for a more than promising venue.

Runs until 31st May 2026