A family in mourning. A man in crisis.
After the death of his dad, Michael is powerless and angry. In a state of
heartbreak, he confronts the difficult truths about his father’s legacy and
the country that shaped him. At the funeral, unannounced and
unprepared, Michael decides it is time to speak.
Thomas Coombes stars in this scorching and fearless play which asks
explosive and enduring questions about identity, race and class in Britain.
Back to back, the plays make Dyer and Williams’s analysis of Britain’s complications prick even deeper. The men are both stuck in states of contradiction: the difference between their thoughts and feelings are articulated throughout. Their present merges with their past: with a flash of light the language switches from narration to furious action. The world is so vivid that if there’s a weakness here it’s that I longed for more insight into the side characters – there is the sense that this is a series that could roll on, eternally. Full of rage, love, pride and deep bewilderment, these are stories that are grown authentically on British soil and are desperate for a stage.
Roy Williams’s brilliance as a writer lies in the way he delicately coils intimacy into Michael’s soul. As much as boiling hated bubbles, he cannot overcome the love that hangs around his neck like a millstone. Coombes’ happy-go-lucky blokey demeanour delivers the knuckle fisted punches, but not all the blows land.
West End |
West End |
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