Writer: Dan Lovatt
Director: Heather Carroll
The idea is irreproachable: Divided Culture Company’s play dealing frankly with the problems of poverty, particularly as it comes unexpectedly to previously stable families, is supported by buckets for local charities and St. Catherine’s Church Centre’s work is publicised by leaflets. Unfortunately the play, though it bursts into life in the closing quarter hour, lacks the emotional impact the subject deserves.
Nobody could accuse Dan Lovatt of taking his time at the beginning. Barely is the curtain up than Kivan Dene as Paul staggers in downstage left and collapses on the settee, having suffered an injury at work. This is the motor for the action. Eve, his wife, (Sarah Mhlanga) attempts to get him to the surgery, but he doesn’t want to disturb the nurse. Months later he is still on crutches and the family’s main income source has dried up.
So, in a series of short scenes, the family moves towards penury: Eve takes a second job, 13-year-old Martha (Annie Roberts) fills a box with Stuff to Sell; the landlord threatens, and so on. Just before the interval the other daughter, Ruth (Annalise Bradshaw), returns unexpectedly from university, bringing further problems.
The resistance of Paul to the idea of benefits and Ruth’s horror at the suggestion of a part-time job make matters worse but, as his house gets colder and colder, the female members, at least, realise that this is no time for pride, apply for the skimpy benefits available and visit the food bank. The enumerating of the items in a food bank kit is probably the most telling in the play. Ultimately Paul gives way grudgingly.
The comparatively modest impact is due initially to the flatness of the script. The family is not given a hinterland and for much of the time the script simply marks out their privations, though this is not true of the final quarter hour or so. Heather Carroll’s direction is similarly flat. The set consists of a double bed, a settee and a dining table, but all are arranged in a line and genuine action is at a premium. The play tends to proceed at an even pace, with occasional outbursts of obscenity-filled fury, soon forgotten.
Sarah Mhlanga establishes a thoroughly appealing character, her bright cheerfulness breaking through at the darkest moments. Kivan Dene is driven more and more on the defensive as Paul, but gave this member of the audience a twitch of familiarity with his struggles with the computer. Annie Roberts is expressive and sympathetic and Annalise Bradshaw rides the contradictions of Ruth.
The major success was the sign language interpreter, not afraid to get close to the action, always willing to shadow the movements of the actors.
Reviewed on 15th April 2023.
