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A state of the nation commentary masquerading as a kitchen sink family drama which doesn't quite manage to live up to the premise.Summary
Rating
Good
For decades, the American dream has attracted people from all over the world in search of fortune. Ellis Island and the Statue of Liberty were the initial port of call, offering a welcome to millions of immigrants seeking a better life. Of course, that was a long time ago and times have changed. While many still pursue the American dream, this welcoming gateway has been replaced by a wall, fence, and border patrol—armed and determined to keep people out.
Directed by Femi Elufowoju Jr and written by Pulitzer Prize-winning playwright Suzan-Lori Parks, The Book of Grace presents a family reunion as both a kitchen sink drama and a state-of-the-nation commentary on the USA. Set in a small family room with a fridge, hob, and sink in the background, most of the action unfolds by the family couch. Smart design by Will Fricker and Rae Smith features a fence hanging above the set adorned with barbed wire, a frayed and torn American flag hangs caught and ripped by the wire. David Howe’s adept lighting keeps the focus on the characters, even as they move throughout the space, addressing the audience from the aisles or briefly sitting among us.
Vet (Peter De Jersey) is a border force officer on the Texas-Mexico border who takes pride in the fence he monitors, even keeping a live stream on screen in his home to always be vigilant. He talks of “us” and “them,” referring to people trying to cross the border as “aliens,” and holds a simplistic view: good people are on this side of the fence, bad people are on the other, and it is his duty to keep the bad ones out. We learn a lot about Vet from an early monologue as he digs a trench in his garden. Secure and committed in his beliefs, he barely sees the border crossers as human. Vet is estranged from his son Buddy (Daniel Francis-Swaby), a former military man now back from active duty with a past that is never fully elaborated on. Vet is set to receive a medal, and his wife Grace (Ellena Vincent) has invited Buddy to stay and attend the ceremony, hoping to see reconciliation between father and son. All three move between monologues, self-serving or at least with their own interpretation of the world to interaction with each other. Some of the monologues feel hesitant and uncommitted with much stronger work from the cast when they can bounce off each other.
The titular Book of Grace is literal; Grace keeps articles and cuttings, writing down stories she hears from customers at the diner, sometimes adding a happy ending of her own imagination. There is a strange, forced flirtation between Buddy and his stepmother, Grace. Vet and Buddy are full of rage, neither sure of the other. Buddy is torn between proving himself to his father by joining the border patrol and seeking revenge, giving Vet three strikes—three chances to avoid his wrath. Vet, jealous of Buddy’s military Bronze Star, sometimes hints that he’d like to be proud of his son and reconcile, but he is too insecure to ever come close to this.
The family drama takes a dark turn as underlying violence and rage come to the fore. Strong lighting work effectively keeps this out of direct sight of the audience, with brief blackouts and blood-red lighting enhancing the intensity of these moments. However, the story feels overwrought and overdone in its attempt to depict the family’s issues as a microcosm of larger societal problems in the States, suggesting that the American dream only ends in blood. This approach makes for a shallower evening at the theatre than the premise promises.
Written by by Suzan-Lori Parks
Directed by Femi Elufowoju jr
Co-Set and Costume Designer: Will Fricker
Co-Set and Costume Designer: Rae Smith
Lighting Designer: David Howe
The Book of Grace plays at Arcola Theatre until 8th June.
Further information and tickets can be found here.
