Til Death Do Us Part – Theatre503, London

Writer: Safaa Benson-Effiom

Director:Justina Kehinde

Examining the worst moments we may suffer through theatre can bring about smart metaphor, dark poetry, and deep thoughts about emotions and feelings. It can be a powerful way to connect with troubling issues, and create imagery that sticks around long after the curtain closes.

Safaa Benson-Effiom has chosen a different route. Within a stage dressed in muted tones and off-white backing (designed by Emeline Beroud), her debut work holds back on pretence and artistry giving us a clear, upsetting, unvarnished examination of the difficult days a couple feel after their son’s suicide.

Daniel and Sylvia (Richard Holt and Danielle Kassaraté) are reduced to living in a single room in their family home, unable to face using the stairs their son died on just a few days ago to access the rest of the house. Through flashbacks that turn into personal reveries or hallucinations for them both, we begin to piece together what happened to their son Andrew (Jude Chinchen). Slowly, we see their coping mechanisms (and their marriage) break down as they examine in brutal detail how it came to pass that “The worst has literally happened”.

Dispensing with hyperbole, Benson-Effiom’s language is simple but highly effective. Through easy repetition we’re forced to return to core thoughts frequently, cutting through the powerful distraction of the sadness and anger that swirls around the couple, and the bittersweet moments where Andrew is among them in flashback. “The done thing” is repeated as part of Benson-Effiom’s nuanced exploration of how grief and grieving is performed, and Sylvie’s constant referral to “my child” highlights how grief like this can build isolating walls around us.

It communicates pain directly. As volleys of blame are exchanged between Dan and Sylvia when we reach the finale – each searing allegation returned with destructive menace – his passion and kinetic energy jarrs against her calmness and directness to produce an almost disorienting effect. They’re such separate people, it’s wonderful to watch them admit it to themselves as we learn it too. Holt and Kassaraté are utterly absorbing as the couple, flitting between an easy camaraderie and spitting rage.

Within an already difficult topic, Til Death Do Us Part represents a fascinating angle to take. Benson-Effiom has unequivocally placed the blame on the parents, something that cannot fail to be controversial. While upsetting and disturbing, it’s done with a rare sensitivity making it all the more compelling. From its programming, Battersea’s Theatre503 seems to be making a concerted bid to be a safe haven for bold and challenging writing and this is a great addition to its canon.

Runs until 21 May 2022