A convoluted tale of noughties sisterhood that brims with playfulness and bubbles with potential.Summary
Rating
Good
Fish and Bicycle Theatre’s Holiday transports audiences to a 2009 holiday camp in rural Norfolk, where five London-centric mothers arrive with their children — and plenty of baggage of their own. Armed with a net of footballs, a litre of Gordon’s, and enough espadrille wedges to make Alexa Chung jealous, Roli Okorodudu’s first full-length production is a blurred yet heartfelt exploration of sisterhood and the tensions that emerge when motherhood and friendship collide.
What starts as an idyllic escape to the Great British countryside, orchestrated by classic posh mum Shirley (Allie Young) – evoking Anna Maxwell Martin’s Julia in Motherland – soon unravels. As tensions mount, long-buried betrayals and simmering prejudices around class and race froth to the surface, exposing the cracks in the mothers’ friendships and the complexities that underpin their seemingly ordinary lives. But just as the emotional crescendo peaks, the play takes an unexpected and baffling turn, shifting from the genuine tribulations of these mothers’ lives to the absurd revelation of a Quality Street-sized tin containing a gun and thousands of pounds in cash, accidentally stolen by Maureen’s (Valerie Paul) son from one of her cleaning clients. Yet, this unexpected moment of jeopardy, which arrives just fifteen minutes before the play concludes, is quickly resolved, undercutting what might have been a pivotal moment with a rushed resolution.
Despite some textual challenges, this production delivers standout moments of both light and shade. Amanda Chennell’s impeccable comedic timing as Fi brings bursts of hilarity, particularly in moments of crisis, with sharp one-liners that land effortlessly. Similarly, Jennifer Aries’ portrayal of the highly-strung Roz captures the emotional strain many parents face in the rat race – often unwittingly. Roz’s explosive outburst in the play’s denouement perfectly highlights the tension between genuine struggles and the exaggerated, almost theatrical, response they provoke, leaving the audience both moved, amused, and appalled.
Throughout the play, the Drayton Arms Theatre’s black box remains intentionally sparse, thanks to Phyllida Hickish’s simple yet thoughtful design. Three doorways, framed by slender timber beams, subtly outline the playing space, allowing the intricacies of the characters’ relationships to take centre stage. Meanwhile, three unadorned wooden benches are seamlessly repositioned throughout the performance to define each scene, their natural textures evoking the nostalgic essence of British holiday camps that we all know, but perhaps, don’t quite love.
Holiday shines when it leans into the sharp wit and heartfelt camaraderie of its central characters, offering moments of comedy and poignancy in equal measure. However, its abrupt detour into high-stakes absurdity weakens its more grounded themes, making for an uneven final act. Still, with a decent cast and a keen eye for the messy realities of modern motherhood, Fish and Bicycle Theatre prove they know how to entertain. After all, what’s a British holiday without a little chaos?
Written by: Roli Okorodudu
Directed by: Tania Black
Produced by: Fish and Bicycle Theatre
Costume and Set Design by: Phyllida Hickish
Lighting Design by: Eoghan Steenman-Clark
Sound by: Richie Hayes-Thompson
Movement Direction by: Mandy Gordon
Holiday plays at Drayton Arms Theatre until the 8 February.
