Mothers-in-law, eh? We’ve all got them. Well, no, I realise we don’t all have them. I have one, and she’s a queen amongst mothers-in-law (she’s reading this). Mrs Chrisparkle had one; and like most mothers-in-law, the Dowager Mrs C had her moments. Daniel and Oliver both have mothers-in-law, in Chris Thompson’s new play Of Kith and Kin, currently playing at the cosy Studio theatre at the Sheffield Crucible. We never see Daniel’s mother-in-law; but we do meet Lydia, Daniel’s mum, a woman who can extinguish all hope out of both her son and his husband, with her subtle manipulation, deliberate use of gently antagonistic language and both hurt and hurtful expressions.
Of course, she doesn’t feature that highly in Daniel and Oliver’s domestic arrangements. They’re much more focussed on the fact that they’re expecting their first baby any minute now, courtesy of their friend and surrogate-mother-to-be, Priya. Priya’s already been a surrogate for another couple so she knows the ropes. However, when Lydia arrives unannounced at the baby shower, tempers flare, things are said that can’t be unsaid, and the general stress of the situation causes Priya’s waters to break.
So far, so good; a modern family situation deftly created by Chris Thompson, with lots of comic moments and perhaps room for an underlying tragedy lurking somewhere ahead. Come Act Two – still before the interval, it’s a traditional three Act play and the cliffhanger moment comes at the end of the second act – and we suddenly realise the play has gone in a direction that’s completely unexpected. That black comedy of the first Act has turned into challenging and thrilling drama that doesn’t let up until the end. Think you’d got to know the characters quite well? Think again.
It’s hard to discuss the play in depth without giving away the plot and I’ve no wish to ruin it for you, gentle reader. Anyone can have a bad mother-in-law day, when she identifies your weak spot, pushes all the buttons and detonates an explosive response. However, not many people would experience the same disastrous fall-out as Daniel and Oliver, which is the main substance of the plot development. The play is full of fascinating and compelling themes like honesty in relationships, manipulative behaviour, loyalty, and “doing the right thing”. It’s a very grown-up piece of writing, in that it never criticises or casts doubt on the desire of a gay couple wishing to have their own child through surrogacy; not even Lydia sneers at that. It raises the issue of the inherited nature of abusive relationships, and subtly explores it in an unexpected way. In the end, only one character actually gets what they want; and it’s a very revealing insight into that kind of character.
But there was just one thing we didn’t understand in this play – and it’s quite a big one: Priya. Priya makes a number of decisions through the course of this play and we could not understand her motivation for any of them. Maybe it’s because the play is very much written from the perspective of the character of Daniel, and perhaps Oliver too, that there’s no real attempt made to get inside her brain and emotions and examine her motives. Still, at least it makes for an unexpected and constantly surprising play.
It’s beautifully acted throughout, with James Lance as Daniel and Joshua Silver as Oliver forming a very convincing couple, bright and relaxed on the surface, bubbling with tension on the underneath. Chetna Pandya’s Priya comes across as a sensible but fun-loving best friend, although her anxieties begin to show toward the end of the first Act. Joanna Bacon turns in two superb performances, both as the sullen and difficult Lydia and the hard-nosed, manipulative Carrie; and I really enjoyed Donna Berlin’s performance as Arabelle, a character in a position of authority but with a devilish streak of unconventional humour.
It’s certainly a play to make you think; and you may come away wondering how you’d ever trust anyone ever again. This smart production runs at the Crucible Studio for one more week until 7th October and then plays the Bush Theatre in London from 18th October till 25th November. Very enjoyable, but also uncomfortable viewing!
Production photos by Mark Douet