The Theatreguide.London Review
Donmar Warehouse Theatre Summer-Autumn 2019
Like most American
plays, Branden Jacobs-Jenkins's new drama is about family. And like
most American family plays, it is really about America.
gripping and evocative drama takes an honourable
place in the American repertoire of exploring large issues through
An old man has died and
his adult children gather
to sell off his house and its furnishings, not with any real
expectation of profit, but just to pay off mortgages and debts and
walk away free and clear.
But of course the
impossibility of walking
away free and clear is what the play is about. The past remains, as a
shadow over the present and in the present itself, as the current
generation realise how much they were shaped by their father, the
house, and each other.
That the house is a
pre-Civil War plantation
brings in all the weight of America's racial history. And as his
children and grandchildren rummage through the dead man's things they
find evidence that he (who must have been a child of the 1950s or
1960s) was not free of inherited and ingrained prejudices, and that
therefore neither are they.
But the play is not only
Ordinary family squabbles – daddy always liked you best, where were
you when I was taking care of him, and the like – keep going deeper
to expose as much about the accuser as the accused.
The two brothers
and the sister each have something in their past to be ashamed of,
and both the crimes and the shames are dissected mercilessly.
there is some slim hope offered in a third generation seemingly less
infected by the past then their parents, it may also be that they
just haven't had time for signs of the infection to appear.
It is a
strong play, with strong acting roles, which director Ola Ince guides
her actors to make the most of.
At the fore is the older sister, who did all the work of caring for father and all the work of preparing for the sale, and resents it. Monica Dolan courageously allows the woman to function as the witchy, bitchy villain of the piece for much of the play, withholding any opportunities for us to sympathise until it is time for us to realise that she, like her brothers, was shaped and emotionally crippled by their past.
Steven Mackintosh is
outwardly more successful and functional brother who has gotten that
far by running away from the past and who, we learn, is not all that
successful after all.
Edward Hogg is the black
sheep, with real sins
and failures to account for, but at least the attempt to apologise
The play is not perfect.
It is overlong and repetitive,
it wears its flourishes of symbolism a bit awkwardly, and a couple of
the actors have to struggle with the weight of invisible signs
reading Hope For The Future in their attempt to create characters.
But there isn't a major
play in the American repertoire that couldn't
be accused of some of those lapses, and ultimately they don't matter,
Appropriate's strengths carrying it past them.
Speaking of major
plays in the American repertoire, you may have spotted echoes here of
everything from O'Neill's Long Day's Journey, through Williams's Cat
On A Hot Tin Roof and Miller's The Price, to Shepard's Buried Child.
Branden Jacobs-Jenkins is not quite as great a writer (yet). But he has the good taste and good sense to be influenced by the best of the best, and it is not inappropriate to speak of Appropriate in their company.
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