Til Death Do Us Part
Reviewed – 10th May 2022
“a quite remarkable feat of theatre making all round”
If you could go back in time, what would you do? What would you change?
It is an over familiar and well-worn question. The subject of many late-night rambling discussions, and a theme in many more dramas on stage and on screen. So, another play in which the characters frequently ask one another the question suggests a claggy hour and a half of yawn stifling.
[Best_Wordpress_Gallery id=”391″ gal_title=”Till Death do us Part”]
But don’t be fooled. Safaa Benson-Effiom’s debut full-length play approaches the question in a wonderfully fresh and deeply harrowing way. Partly because, although a leitmotif, it is secondary to the narrative; unanswered and pushed into a corner by the distressing circumstances and events that spearhead the action. “Til Death Do Us Part” is essentially a drama about love and relationships and what happens when they fracture. We don’t always have the language to express the pain and grief that is felt.
After fifteen years of marriage, Daniel (Richard Holt) and Sylvia (Danielle Kassaraté) find themselves simultaneously drifting apart and trapped together. They are a fairly normal couple, with fairly normal lives and a teenage son (Jude Chinchen) from whom they think the darker undercurrents of their marriage are hidden. When faced with their worst nightmare the couple are forced to confront the years of unspoken resentment. Unarmed, except for the rapier-like honesty which cuts to the surface, they fight their common demons alone.
Benson-Effiom plays with time. We are, at once, in the present and the past but the text yields no confusion under Justina Kehinde’s extremely slick direction that creates a world where memories and ghosts are one and the same. Tom Foskett-Barnes’ ominously evocative sound design lends touches of the supernatural, although we are still firmly rooted in reality. It is a quite remarkable feat of theatre making all round.
But at the forefront are the performances. Holt and Kassaraté dress their characters in more layers than you can count. Both of them unpredictable, they seize the danger inherent in Benson-Effiom’s writing. The portrayal of their heartache, loss, failure, regrets and fears are as blistering as the sparks that fly between them. Chinchen’s Andrew is equally mesmerising as the schoolboy, all smiles and effervescence concealing invisible cracks, playing his parents off each other right through to the tragic climax. In a novel twist the climax precedes the build-up, which paradoxically intensifies each.
The exploration of grief and blame is profound but not heavy handed. A short line of dialogue is enough to convey a decade of emotion. We live in a society where platitudes abound that try to make sense of the chaos that extreme loss wreaks. This insightful production makes them flesh. A riveting, must-see ninety minutes of theatre. If you can see beyond the trigger warnings, Safaa Benson-Effiom is a name to look out for.
Reviewed by Jonathan Evans
Photography by Steve Gregson
Til Death Do Us Part
Theatre503 until 21st May
Previously reviewed this year by Jonathan:
Freud’s Last Session | ★★★★ | King’s Head Theatre | January 2022
A Level Playing Field | ★★★★ | Riverside Studios | February 2022
An Evening Without Kate Bush | ★★★★ | Soho Theatre | February 2022
Steve | ★★★★ | Seven Dials Playhouse | February 2022
The Devil’s in the Chair | ★★★★ | Riverside Studios | February 2022
Us | ★★★★ | White Bear Theatre | February 2022
The Straw Chair | ★★★ | Finborough Theatre | April 2022
The Silent Woman | ★★★★ | White Bear Theatre | April 2022
The End of the Night | ★★ | Park Theatre | May 2022
Orlando | ★★★★ | Jermyn Street Theatre | May 2022
The Man Behind the Mask | ★★★★ | Churchill Theatre | May 2022
Click here to see our most recent reviews