Gareth's Culture and Travel Blog

I’m not sure why I initially decided not to see this. Much of the hype revolved around Stranger Things actor David Harbour, and I’ve never seen that show. Bill Pullman had impressed me in All My Sons at the Old Vic, but that didn’t clinch it, neither did the positive reviews. Then I had a change of heart in its penultimate week with free evenings to fill, and I’m lucky I did. Late to the party, but I got there before it ended.

It’s a very dark comedy about madness and death. 70-year-old Daniel has emphysema. His son Michael has been looking after him since his own discharge from an ‘asylum’ after his mother had died of cancer. Struggling to cope, hospice nurse Lillian is appointed. She has to put up with cantankerous Daniel and needy Michael, but does so with skill and empathy. Then successful brother Nedward arrives to try and sort out Daniel’s financial affairs, closely followed by obnoxious sister Pam, determined to get more than her fair share, even if it means shafting Michael. Neither sibling have been near until now, so Michael is very much the put upon brother.

Lots of family history is revealed, and plenty of skeletons come out of cupboards. Michael’s ongoing mental health is questioned. He learns some of what happened whilst he was in hospital. Litigious Pam turns against Lillian as well as Michael. Nedward tries to keep the peace. Daniel stirs things up, for his own entertainment it seems. When Daniel dies, Michael leaves, at last, liberated, leaving what’s left of his dysfunctional family behind.

Theresa Rebeck’s piece is well written and well structured, new facts continuously emerging to illuminate the family history, with excellent characterisation. Bill Pullman is sensationally good as Daniel, with a wicked glint in his eye virtually the whole time. Michael is a real emotional roller-coaster of a role and David Harbour is passionate bringing this larger-than-life character alive. Lillian is the only truly likeable character and Akiya Henry conveys her caring nature, investing her with bucketloads of empathy. Pam is a monster who you hate from the moment she arrives, a tribute to Sinead Matthews. It’s a while since I saw Stephen Wight on stage and it’s good to be reminded of his talent for understated charm. Here, he develops warmth as his sympathy with his brother grows.

The Ambassadors Theatre is a small enough venue to give the play the intimacy it requires. Frankie Bradshaw’s uber-realistic set surprises us by moving outside as the story unfolds. Director Moritz Von Stuelpnagel’s staging brings this all together to deliver the drama and humour in equal measure.