A SONG IS A DREAM, A PLACE TO BE, SOMEWHERE TO LIVE

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐⭐ | Press Invite

In Jez Butterworth’s latest offering, “The Hills of California,” anticipation hangs heavy in the air, both for the characters and the audience. Rather than set in the warm, glamorous Californian Hills, it’s actually set against the backdrop of a scorching British summer in Blackpool in 1976. 

In the first scene we are introduced to the plain and homely Jill, who we learn has been caring for her her sick mother, she is soon joined by her two sisters, Ruby [Ophelia Lovibond] who has inherited her mothers glamorous looks but lives a dull existence and the angry, irritated Gloria [Leanne Best] whose stressful entrance was both very relatable and comedic. 

The play delves into the lives of the three sisters grappling with their mother’s impending demise. As Veronica, the matriarch, battles cancer unseen in the room upstairs, her daughters are faced with a weighty decision: ease her suffering with a ‘Hot shot’ of morphine or let nature take its slow and painful course. Why this delay in easing their mothers’ suffering? Well, there is a fourth mysterious (and mother’s favourite) eldest sister, Joan, who left many years ago to pursue a music career in California whose homecoming is greatly anticipated.

THE HILLS OF CALIFORNIA TRANSPORTS YOU BACK TO 1950S

Butterworth, renowned for his intricate narratives, including the often lauded ‘play of the century’, Jerusalem weaves a tale that keeps viewers intrigued but it is certainly a play of two halves. The first half not really providing any guidance to the audience into what its message will be, followed by a second half which provides the meat to the bones of the narrative.  Directed by Sam Mendes, the production unfolds in the confines of the Harold Pinter Theatre, with Rob Howell’s set design masterfully capturing the essence of a Blackpool guesthouse. The kitschy charm of the setting, complete with a bamboo drinks bar and vintage jukebox, adds a nostalgic touch to the proceedings. The dark spiralling staircase centring the stage, creates a foreboding promise to the audience of what may happen in the unseen rooms in the floors above. 

The dialogue crackles with wit and irreverence, setting the stage for a journey that oscillates between laughter, tears and tragedy. As the story unfolds, we’re transported back in time to the 1950s, where the sisters’ tumultuous upbringing takes center stage. Laura Donnelly shines as Veronica, their mother, a woman driven by dreams of stardom for her daughters, wishing to save them from a life of obscurity and into the glamorous and glittering world of stardom, while the ensemble cast delivers performances that are both nuanced and compelling. Huge kudos to the younger actors, as I didn’t get a sniff of ‘stage school kid’ acting that some plays are often brought down by. This is because the cast were practicing their harmonies and performances very early on so the engagement between is smooth and believable.

THE VERY HIGH PRICE MANY WOMEN HAVE FOR SIMPLY DREAMING OF A LIFE THAT ISN’T JUST MARRIAGE AND CHILDREN

At its core, “The Hills of California” is a tale of family dynamics, with each sister bringing her own perspective to the table. From Gloria’s fiery resentment of being unseen by her mother,  to Ruby’s longing for reconciliation with Joan, the sister who cut contact with the family all those years ago. The characters navigate a complex web of emotions with grace and authenticity. Helena Wilson’s portrayal of Jill, the steadfast caregiver, is particularly noteworthy, anchoring the narrative with her quiet strength and fairness when it comes to the morality of past situations.

Butterworth delves into themes of the power of dreams, memory, identity, and the ties that bind us together. While the male characters take a backseat to the women’s stories, their presence adds depth and complexity to the narrative by their presence being very top level. When the men are on screen or discussed, it only heightens the impact that men have on the dreams and hopes of women and the very high price many women have for simply dreaming of a life that isn’t just marriage and children. 

BUTTERWORTH INVITES US TO CONFRONT THE COMPLEXITIES OF LOVE, LOSS, AND THE PASSAGE OF TIME

As the play hurtles towards its conclusion, there are no easy answers or tidy resolutions. Instead, Butterworth leaves us with a sense of the unpredictable nature of life, where meaning is found not in closure, but in the messy, chaotic interplay of human relationships.

In “The Hills of California,” Butterworth invites us to confront the complexities of love, loss, and the passage of time. It’s a journey that lingers long after the final curtain falls, reminding us of the enduring power of storytelling to illuminate the human experience.

I am still thinking about this show and have written this review several times, always finding something else to ponder over and in that sense, the play is very successful. At first, I wasn’t too pleased with the ending message, there was something niggling at the back of my mind [and I loathe to do spoilers to really explain my thinking] but upon reflection the ending was a statement about what dreams we allow women to have, and how dreams can be destructive when we don’t truly analyze why we are pursuing them, and who we are pursuing them for and the ending of trauma cycles, and the brave characters who take on the trauma breaking role within their family. 

I happily give this 4.5 stars out 5 and will most certainly watch it again. 

Writer: Jez Butterworth

Director: Sam Mendes 

Set design: Rob Howell

Music Arrangement: Candida Caldicot

The Hills of California will play at the Harold Pinter Theatre for a strictly limited run from 27 January to 15 June

Photo Credit: Mark Douet