A brisk yet timeless domestic drama with an evocative setting, though its subplots feel underconnected.Rating
Good
Sarah Shelton’s Blessings, written, directed and produced by Shelton herself, is a solid slice of family drama set in Britain in 1969. Within a Catholic household, secrets and lies bubble beneath the surface until one is finally revealed in a devastating climax. At just 90 minutes with no interval, the play moves briskly, its scenes shifting fluidly across three well-defined stage zones. The pace ensures the audience stays engaged, while the absence of breaks amplifies the claustrophobia of a family under strain.
The writing is efficient, establishing storylines quickly and keeping the action moving. Yet Shelton casts her net wide: the full range of domestic drama is laid out before us, with numerous threads introduced in quick succession. The result sometimes feels like a compressed TV serial, with too many plotlines sketched rather than developed, and only loosely, if at all, connected to the final revelation. The dramatic payoff, though effective, sits oddly distant from much of what precedes it. Whilst it’s true that the range of drama helps create both colour and context, the lack of connections drawn between generations is a missed opportunity to both knit tension into the dramatic strands and to allow characterisations to be more universal and less stereotypical.
Performances, however, are consistently strong. Gary Webster impresses in his dual roles as Frank Deacon and Father O’Brien, switching seamlessly between characters with convincing command of voice and accent. Anna Acton as Dorie Deacon anchors the family with a weary poise, while Hannah Traylen, in a stand out performance, gives Frances Deacon a sharp teenage sass that adds wit and tension. Millie Roberts brings subtle depth to Penny Deacon while also doubling with agility as Vita. Making his professional stage debut, Freddie Webster shows versatility as both Martin Deacon and Peter, distinguishing the roles with assurance and presence that promise much for his future career. Together, the cast work hard to give nuance and credibility to roles that often feel underwritten.
However, the Deacon children speak and behave with such varied social and cultural identities that they barely feel like part of the same family. Accents and demeanours range from plummy to streetwise, which may broaden the dramatic canvas but makes the household difficult to place socially or geographically. It is as if pieces from several different games have been mixed together on one board. The effect is intriguing, but it stretches plausibility.
Technically, the staging is polished. The set and costumes by Alice Carroll evoke the late 1960s with fresh detail, aided by Dan Terry’s versatile lighting design and Andy Graham’s evocative sound. The Riverside Studios space is used well, with smooth transitions and strong spatial awareness in the direction.
Blessings is a lively and often funny exploration of domestic tension, bolstered by committed performances and thoughtful staging. Yet its ambition sometimes undermines itself, layering in so many subplots that the central drama risks dilution. When I had the opportunity to interview the writer during the first week of rehearsals, we spoke of her hope to take this play on to TV. I think it would work well in that context, but a tighter focus on fewer strands will help deliver the play’s killer punch with greater force.
Written and directed by Sarah Shelton
Set and Costume Design by Alice Carroll
Lighting Design by Dan Terry
Sound Design by Andy Graham
Blessings plays at Riverside Studios, Hammersmith, until Sunday 26 October.
