★★★★★
Following rave reviews from its original run at the National Theatre’s smallest Dorfman Theatre last winter, Till The Stars Come Down has made its West End debut this month at the Theatre Royal Haymarket. Having not seen the play before, I was uncertain what to expect from it other than the fact that it’s about a family wedding but it absolutely blew me away. The simple premise unravels to reveal bubbling tensions and complex familial dynamics. The juxtaposition of the lighter first act to the dramatic second is so beautifully done because the tensions are already subtly present so when everything finally explodes in the second act, it’s a very satisfying release.
Beth Steel’s writing is wonderful. The dialogue for the characters feels incredibly realistic, the humour is very well done and yet the tonal shift in Act 2 doesn’t feel jarring because the seeds of the conflict have already been sown in the first act. The characters are beautifully drawn and feel instantly recognisable. The female characters are more complex and interesting than the men but this is by design as the heart of the story is the relationship between the three sisters, and it’s refreshing to see a play which centres the voices of women over 30, especially working class women. It initially feels strange that we don’t see the groom, Marek, until halfway through the first act, but this turns out to be quite an effective choice as our impression of him has already been coloured by the characters’ prejudices by the time he appears.
In terms of the cast, Dorothy Atkinson as Aunty Carol is the definite highlight. She provides much of the humour of the show and steals every scene she’s in. Her dancing at the beginning of Act 2 is particularly memorable. Aisling Loftus is wonderful as Maggie; she has such a sharp wit but also really delivers on the dramatically intense material her character has in the second act. Out of the three sisters she definitely stood out the most. Sinead Matthews Sylvia as the bride acts as the centre of the piece and her slow descent from joy to devastation as the events unfold is beautifully delivered by Matthews. The other sister, Hazel at first seems like your run of the mill racist relative, but Lucy Black really mines the nuances of the character and delivers a phenomenally emotional performance as the drama unravels.
For the technical elements of the show, Paule Constable’s lighting is the star. The way the lights reflect off the central mirror ball is really stunning and the lighting changes throughout the show to match the mood of the action are so well done. I particularly liked the stunning red and green lighting effects in Act 2. Samal Blak’s set design is simple but incredibly effective, especially the revolve which is used perfectly during the wedding dinner to allow the audience to see the conversation from all sides. Gareth Fry’s sound design is crystal clear and the music for the transitions is especially good. The music is matched perfectly to the tone of each transition, becoming progressively more dramatic throughout. Bijan Sheibani’s direction is excellent, and the choice to use onstage seating works very well as it brings the audience into the action. Even for those in the auditorium, there is a sense of intimacy with the characters. This makes the blows of the second act even more devastating when they do come.
The climax is simultaneously excellent and infuriating. Dramatically it makes sense: this is not a play that promises easy answers so naturally the climax is ambiguous. However there are so many unanswered questions about the characters that you can’t help feeling a little frustrated at the abrupt ending. The emotional impact however is undeniable, one that would be lost if Steel had chosen a more easily digestible end.
Till The Stars Come Down is undoubtedly one of the best plays I’ve seen this year. It’s a beautifully crafted, hilarious and yet devastatingly real piece of theatre that offers as many emotional punches as it does laughs and is well worth a watch in its short summer run.
Till The Stars Come Down is at the Theatre Royal Haymarket until 27 September.
Words By Jo Elliott
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