A play that tackles dark themes with true insight and sensitivity, but is occasionally hampered by busy staging and an uneven tone. Rating
Good
This ambitious and brave new play by young writer-performer Isabella Garland takes on an extraordinarily difficult subject: child abuse and paedophilia within schools. Mr Stevens is a bold and complex play, full of courage and intelligence, which sometimes loses focus but remains compelling nevertheless.
The play takes place almost entirely outside the memorial ceremony of an apparently popular PE teacher, Mr Stevens, who has recently died of cancer. As the audience, we never see the memorial itself (though we are guided through it by use of off-stage voiceovers). All of the action takes place just outside the ceremony, played by those who constantly choose to slip in and out of the service. It’s a clever framing device that is compact and flexible, though it sometimes limits the drama’s plausibility.
With more than ten performers plus offstage voices, the small stage sometimes feels overcrowded. Additionally, the sheer number of entrances and exits gives the piece an almost carousel-like rhythm, particularly towards the end of the play, distracting from the emotional impact of some of the revelations. Indeed, in the second half, some of the scenes, particularly those involving the three children not involved in the narrative, feel superfluous. They take away the opportunity to develop moments that could give the play’s core themes their deservedly devastating impact.
Casting is another difficulty. Everyone on stage, to an actor, puts in well-prepared and convincing performances, but with the entire ensemble (some playing teenagers, others teachers) being cast from a pool of performers apparently all around the same age their believability is limited. This also means that one of the important themes of the piece – the differences between how younger and older generations respond to and deal with the fall-out from serious trauma – feels underexposed and underexplored.
That said, there is much to admire here. Garland, who also plays central character Lily, shows remarkable sensitivity in both writing and performance. She hints at neglect and emotional instability with subtlety and restraint, drawing us into a tense uncertainty about the truth behind her accusations that gives the play its biggest triumph – a conclusion that will have you on the edge of your seat and a final note that will take your breath away. Similarly, Julia-Hetta Johnson as Julia judges Lily’s estranged friend perfectly, as does Lily’s potential beau, Leo, played by Ieuan Siôn Bradley.
The play is billed as a dark comedy. Of particular merit when providing humour is Mrs Hobbs played by Louise Nichols. As an ex-teacher myself, I felt very seen noting her well-meaning but clumsy strategies to help others and take control of situations. These moments are played to perfection, providing just enough real-life humour to offset the gravitas of the main narrative. Slightly more problematic is Caitlin Florence-Rose’s role, Rose. As the grieving widow, she opens the play at the front of a compelling ensemble tableau that exposes brilliantly the impact of her devastating loss. I’ll be the first to acknowledge that grief can affect people in strange ways, but the later levity in her role seems somewhat incongruous and out of character.
The ambition here is undeniable. Garland and director Aaron Thakar tackle their central theme with sincerity and courage, sustaining a gripping pace with skill for the 90 minute running time, keeping ideas alive and developing the narrative at just the right pace. It demonstrates real promise from a team that seems thoughtful and totally unafraid. Doing more with less will further sharpen the focus on the heart of this devastating story.
Directed and produced by Aaron Thakar
Written by Isabella Garland
Produced by Ella Jarvis
Tech & sound design by Beth Scott
Mr Stevens plays at the Arches Lane Theatre until Saturday 8 November.
