A STRONG CAST CARRIES BLESSINGS THROUGH AN UNEVEN SCRIPT

By Trisha Cusack ⭐⭐⭐ | Press Invite

Sarah Shelton’s family drama, ‘Blessings’, brings the audience back to Britain in 1969, during a time of major societal change and tension. While the world at large is witnessing historical moments, we are introduced to the Deacons, a seemingly ordinary Catholic family. However, appearances can be misleading as this play sets out to unveil.

The show follows the lives of Dorrie (Anna Acton), Frank (Gary Webster), and their teenage children Frances (Hannah Traylen) and Sally (Emily Lane). London-based older siblings Martin (Freddie Webster) and Penny (Milly Lane) make appearances throughout during the family’s key moments. All roles are well cast and there is a good use of doubling up roles. Gary Webster plays the always-present Father O’Brien while his real-life son, Freddie, doubles up as Sally’s boyfriend Peter. Lane, whose Penny unfortunately isn’t given much substance beyond being the patronising older sister, is given a chance to show her acting range as Sally’s best friend Vita.

The play itself, lasting 90 minutes with no interval, isn’t wildly groundbreaking in its themes. The frustrated mother/housewife, the husband who would rather be at the pub than with his family, the teenagers who are trying to find their own identities – it feels like it’s all been seen before. There are certain storylines of interest, especially with Frances. However, with the multiple subplots, it is difficult to dig deeper into the critical meaning of it all. Additionally, meandering storylines that have minimal impact, such as Sally’s relationship with Peter, feel like filler.

Originally envisioned as a TV show, it makes sense that the play feels like an episode of a soap opera with short scenes, different locations and too much use of foreshadowing. The prevalence of Father O’Brien, for example, makes it quite obvious that he has a bigger role to play amongst the Deacons. However, the disruptive narrative flow is a disservice to the actors who deliver their roles well in each scene.

While it explores well the family dynamic of the late 60s, the overall play struggles to pack a punch. For example, when Dorrie is berating Sally for having her boyfriend over, it was disappointing to not have Sally stand up for herself. Instead Dorrie’s fury dies as quickly as it started with no feeling of resolution. This is felt throughout the show., particularly the final plot twist introduced right at the end. Rather than it being the climax of a building crescendo, it feels out of sync to the scenes leading up to that big reveal.

As a personal aside, what let this play down that little bit further was Father O’Brien’s Irish backstory. While Webster’s southern Irish accent was decent, it was in no way a Derry accent, where he is said to be from. Moreover, the reference to the bombings in Derry is slightly inaccurate. In 1969, the bombing campaigns associated with The Troubles in Northern Ireland had not yet begun in Derry. As a result, it would have been better if this wasn’t included at all, lest you end up distracted like myself by these bug bears.

Overall, the strong cast and polished staging help carry this play. With some further refinements, more depth to the characters, and less subplots, Shelton’s Blessings would be be a more insightful show into the complexity of family and how, while times may change, family drama remains the same.

Blessings is running at Riverside Studios until Sunday 26 October.

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Photo Credit: Lidia Crisafulli