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Challenges us to consider the humanity of a convicted sex offender and the far-reaching impact of his actions on those around him.Summary
Rating
Good
In an ordinary American living room, Tom (David Sturzaker) and his wife Leigh (Lisa Dwan) celebrate his successful direction of a school production of Romeo & Juliet, exchanging light-hearted banter with friends over wine. We see glimpses of their lives and friendships before a phone call abruptly shatters their fun. Tom has been accused of an inappropriate relationship with one of his young students. We never get the full details, instead we jump forward in time to find that Tom has been convicted and imprisoned. His life, along with his family, will never be the same again. Now the wine is to welcome Tom home from jail. There’s a particularly smart moment in the stage design when the overhead living room fans cast shadows, symbolising the disruption within the family but also subtly evoking the looming presence of the prison industrial complex.
As the characters wrestle with the question of Tom’s guilt, Carey Crim’s script focuses more on the aftermath of his conviction and its rippling effect on his family and friends. How can they continue to stand by Tom? How can Leigh bring him back into their home, let alone their bed? Can his friends still trust him around their young daughters? 23.5 Hours looks at these unsettling questions, focusing on the emotional and social fallout rather than the specifics of Tom’s crime. Katharine Farmer’s direction really ramps up the tension and intensifies the escalating fallout. The real issue lies in the lingering doubt – despite Tom’s conviction, no one can be entirely certain of the truth. Well, except Tom, who still denies everything. Sturzaker’s performance as Tom strikes a delicate balance, showing his inherent humanity but also an ambiguity that allows for the possibility of his crimes.
Dwan delivers a particularly convincing portrayal of Leigh’s emotional chaos, a performance that is intensely physical. She recoils from the touch of her convicted husband, but later strives to reclaim her life and welcomes, even encouraging his touch. Leigh never appears at ease, as if trapped within her own skin, her distress bringing a visceral, almost palpable response. It is a wonder how Leigh manages to hold back from completely breaking down or screaming more often. Jem Matthews also excels as teenage son Nicholas, who spirals into drug use, first pot then harder substances. His fathers’ conviction, the taunts of schoolmates, and the abuse inflicted on the family home – rocks thrown, graffiti sprayed – take a visible toll on him. Matthews portrays him with such raw authenticity that Nicholas is infuriating almost every moment he is on stage.
Jayne (Allyson Ava-Brown) doesn’t shy away from difficult questions. She is concerned about her long-time friend, a convicted sex offender, spending time around her young daughters. In contrast, her husband Bruce (Jonathan Nyati) seems eager for life and his friendship with Tom to return to normal. Jayne comes across as the voice of reason, willing to confront uncomfortable truths rather than ignore them, more than once standing in for the questions the audience has.
There are some issues with broad and varied American accents slipping throughout. There is an unnecessary speed to several conversations with no time for lines to breath, a rapid back and forth that doesn’t always suit. In the early scenes, some of it feels quite forced and later when it would make sense for conversation to be forced, it feels more natural.
23.5 Hours examines themes of trust and loyalty, it looks at the intricacies of forgiveness, the collateral damage of past and present actions, and the way secrets can gradually (or suddenly with a phone call) unravel relationships. It challenges us to consider the humanity of a convicted sex offender and the far-reaching impact of his actions on those around him.
Written by: Carey Crim
Directed by: Katharine Farmer
Produced by: Paul O’Leary
Set and costume design by: Carla Goodman
Sound design and composed by: Julian Starr
Lighting Design by: Jamie Platt
23.5 Hours plays at Park Theatre until 5 October. Further information and bookings can be found here.
