MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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A masterclass in the futility of words
Once a Pulitzer-winner, this play now shows its age despite best efforts by excellent cast, writes MARY CONWAY
(L to R) Rebecca Night as Jessie Cates and Stockard Channing as Thelma Cates
[Marc Brenner]
MATTHEW HAWKINS rakes through un-fancy words and flair-free summaries to find who and what might be flamboyant
PETER MASON is exhilarated by an exciting, well-considered and historically minded tribute to the great Trinidadian instrument
Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
’Night Mother
Hampstead Theatre
“I’M not very good company. Am I?”
So says Jessie at a fairly late stage in the two-hander that is ’Night Mother, currently showing at Hampstead Theatre.
And this is the difficulty with the play. Nearly 90 minutes spent with two people who converse aimlessly, duck what is important and destroy one another in the process is never a happy place to be. It would be worth the cost of a seat to avoid such encounters.
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