A Review of Pelican Productions’ Kin

There are few things which are certain in life, but death and family feuds can be relied upon. Appearing at the most random moments, the former can typically inspire the latter, leaving grief-stricken individuals alone to face their mortality. Or, in those beautiful moments, death can bring people back together. Whether this is the case in Max Dickens’ Kin I will leave you to discover for yourself. Suffice to say, it is a play with quite the emotional rollercoaster and plenty of opportunities to witness existential crises and perhaps even have one of your own as questions such as ‘what is love?’ and ‘what is death?’ are raised.

Taking the late spot at the Burton Taylor Studio this week, Kin is a two-hander starring the talented team Wren Talbot-Ponsonby and Lily Massey. Playing two sisters Sarah and Lilly (respectively) reunited at their father’s death bed after twenty years apart, these two navigate the highs and lows of such an encounter adeptly. Talbot-Ponsonby’s Sarah is your typical career woman, with only her job and apartment to rely upon. Emotionally unavailable and gradually coming unravelled, the character is responsible for most of the comedic moments as well as the majority of the swearing that graces the stage. Bringing power to the role, Talbot-Ponsonby’s notable talent lies in their expressiveness, every emotion of the character being clear to see. This is what I have come expect from the actor and I was not remotely disappointed. Perfectly paired to this performance, Massey’s Lilly is more reserved, self-contained, in control… The depiction of the married mother of two was well handled, the navigation of the various emotional states competently conveyed, despite the erratic way in which the characters jump from laughter to shouting.

The use of presets in Oxford drama is becoming more present currently, the trend continued last night as Lilly was sat with pen and paper, working at the table. The immersive combination of a thrust staging and preset sought to draw the audience into this intimate space, situating us in the monotony of waiting for the long-drawn-out death of a loved one. Lilly’s character is established while the house lights are still on, as is the extensive presence of alcohol within the show. Of course, the downside of thrust is that there are audience members on three sides to consider rather than merely those at the front. I have seen various approaches when it comes tackling this set up, some more successful than others. In the case of last night’s performance, I would say it was a steady middle ground. I would have liked to see the eventual breakdown of Sarah’s carefully constructed walls with a little more clarity; however, for the most part, sitting on the side did not inhibit the audience experience.

For the majority of the play, the use of sound and lighting was simple and effective, with striking moments coming from the use of music and the steady breathing of the father over a baby monitor towards the end. I will not provide too many spoilers, suffice to say that the dance routines are definitely something to look forward to and the breathing adds a disconcerting atmosphere to some of the scenes. Moreover, there was arguably a well-executed cinematic ending to the play, the stage gently fading into darkness as the tension fades from the stage. Yet, visual elements aside, it’s the lines to watch out for more than anything else. With iconic statements like ‘ideally he’ll die on Friday’ and ‘soon the ghost will leave and things will go back to how they were’ highlighting the emotional detachment that often come with these scenes. These lines are sparks of sibling antagonism which sit alongside poignant moments such as the admitting of fears and the facing of the shadows of the past. There is a perfect blend of comedy and seriousness; however, some of the more outrageous lines elicited just the slightest sign of corpsing.

Overall, this was a play full of thought-provoking questions about the state of our own lives and the definitions of such things as death, love and family (some of the answers to these being more than a little unusual). Offset with insane moments of comedy that are guaranteed to bring at least a smile if not always a laugh to your face, this is a poignant play that is excellently delivered. With quotable lines, a fair dollop of cynicism and the messiness of emotional upheaval, this performance will leave you questioning whether family is merely a primitive response or something more. The strong actors draw you into the scenes, capturing your attention until the final perfectly awkward hug. My only quibble is that the volume of intensity could have been dialled up, but I will leave you to decide whether you agree with me.

Photo credit: Freddie Houlahan