ONLY a very confident playwright could write a play with the depth of humanity, insight and complexity of “Home at the End”.
Duncan Ley demonstrates his extraordinary skills with a text that is rich in dialogue and theatrical devices. Jarrad West’s direction ensures its realisation on stage with deft pacing of dramatic scenes balanced with the lightness of sharp, commedia-inspired ensemble work assisted by movement coach Amy Fitzpatrick. Everyman Theatre once again displays the great advantage of being a theatrical team that has honed its collaborative skills over considerable time.
Isaac Reilly’s understated performance captured a deep sense of humanity and ultimate tragedy. Helen McFarlane drew upon multi-facets of a most endearing character; utilising her extensive comedy and music performance skills. High level of performances were achieved by all cast members including: Jordan Best, Geoffrey Borny, Laura Dawson, Duncan Driver, Amy Dunham, Alice Ferguson, Will Huang and Chris Zuber. The use of a puppet to represent a child was effectively integrated into the style and structure of the play.
In some respects the production defies categorising.
There are echoes of Dennis Potter’s “The Singing Detective” in its structure; blending 1950s social realism with highly theatrical story-telling and chorus work. While the earlier story sequences seemed to lose relevance for moments and could be sharpened to link more obviously into the main plot line, they provided highly entertaining movement and choral work.
“Home at the End” provides an enriching and rewarding theatrical experience of quality writing and presentation on all levels.
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