Two distinct stories with one overlapping moment makes Mother.Dad interesting whilst never really doing more to draw us into their lives. Rating
Good
Two very different lives. Mother (Toyin Ayedun-Alase), single mum, pregnant at 16, a boyfriend who doesn’t hang around for long to assist. In complete contrast, Dad (Andy Sellers) is happily (at least it seems) married, twin daughters, although they do seem to prefer mum over him, but, as he points out, maybe that’s because he is the one left to say no to them. In fact, this seems the only connector between their two stories, that both struggle to form a parental bond. It gives an early first impression that writer Doug Deans wants to show that no matter your life, rich or poor, single or married, being a parent can be damn difficult for anyone.
We hear both unique stories side by side. As one ends their next chapter, the other steps up to take over with theirs. There’s some nifty directing from Kathleen O’Dougherty at play to give a smooth flow between the two halves; at times, actors sit on the front row ready to pounce when it’s their turn, or exit rear stage only to reappear for their next round from behind us.
Mother’s story spans almost two decades, from teenage first love and pregnancy, all the way to when her daughter is seventeen. Dad’s story, as well as being from a very different life, is also much more concise, set over one seemingly normal day. But it’s this one day that Mother’s story is leading up to from the very beginning, and as we approach its zenith, it slowly becomes clear what the connection between the two is. And whilst the clues are there all along, credit needs to go to Deans for throwing in a few red herrings to keeping us wondering.
The real issue is that whilst it’s obvious that the two stories will collide, there’s just not enough to bind them early on. For too long they feel like completely separate entities. This is likely the intention, but in doing so it leaves a strange sense of isolation between them, both too far apart for too long, so when they finally intersect it’s somehow lacking in real punch, and a gut punch is what the collision is aiming for.
Ayedun-AlaseandSellers deliver their own stories well and make for compelling viewing. Ayedun-Alase has a sense of rough and ready, it’s no surprise she is a bouncer at a club when we first meet her. She presents as tough and determined to protect her daughter, even though she struggles to form a motherly bond. Conversely, Sellers’ Dad is delivered as weak, needy and even toxic, too quick to anger as his way of showing his parental care. He is also rather whiny, and even now, with the wife, two kids and apparently perfect home, there’s an immaturity within him that Sellers delivers in his performance.
There is also a lighting issue. It surely isn’t intentional to have actors regularly stepping in and out of shadows, with lights seeming going on and off at random moments and failing to spotlight the actor until mid-sentence. Good lighting can add to the performance without the audience even realising, but the reverse is also true, and it stands out for being an annoyance, as if out of synch with the show itself.
Mother.Dad is an interesting watch; as you try to piece the two halves together, there’s no doubting that it’s carefully crafted to bring us crashing to that conclusion. The problem is that the journey to get there is a little too bumpy, and its fine performances can’t quite cover up for that.
Written by Doug Deans
Directed by Kathleen O’Dougherty
Produced by Chronic Insanity
Mother.Dad plays at Omnibus Theatre until Saturday 31 January.
