BLESSINGS
Riverside Studios
★★★
“acted with eloquence and assurance by an outstanding cast”
We find ourselves in the year 1969. It’s an era many look back on with nostalgia — a time often imagined as simpler and less complicated. People had less, but were happier. For people of my age, all that we know is that which is taught to us by our parents and grandparents, or what we may have learned from documentaries. The setting for this play exactly matches the vivid, idyllic depiction that we have of this period.
The subjects of this narrative are the Deacon family. Again, they are typical of their era. Frank Deacon (Gary Webster) is the breadwinner, and Dorie is the stay-at-home Mum. Two of the four children, Martin and Penny, have moved out but are home often enough, while the other two: Frances and Sally, remain living at home. It all seems normal – and that ordinariness is the point; if things seem normal, then they are normal. Blessings is an intriguing tale about the story of a family yet to come to terms with its own secrets, where the cover-up may be worse than the truths that are uncovered.
One of the most impressive aspects of this play is its authenticity to the time in which it is set. Sarah Shelton’s writing is delicately detailed, dropping in countless era-specific references. The family discuss the first moon landing which would take place a few months later. The Troubles in Northern Ireland are the biggest thing in the news. Frances and Sally talk about going to see “that new Michael Caine film: The Italian Job”, while the brutal murders masterminded by Charles Manson can be heard described on the radio.
The set and costume design is equally as impressive (Alice Carroll). Patterned wallpaper adorns the back wall. A Beatles LP can be seen by the radio and the daughters are seen reading from the teen magazine ‘Jackie’. Simple staging — a bench and table on either side of the room — creates three distinct locations, allowing scenes to flow smoothly.
The star quality of the performance comes from Emily Lane who plays the role of Sally Deacon. Sally emerges as the focal point, with all storylines connecting through her She faces the painful honesty of her family, who “don’t really see her in a career,” yet her resilience shines through as she drives the story to its climax. It’s a performance that reflects Lane’s West End pedigree.
Gary Webster and Freddie Webster are praiseworthy in their roles too. Both actors take on two roles with skill, particularly Gary Webster, doubling as Frank Deacon and parish priest Father O’Brien. While their performances are excellent, the play suffers from the fact that these characters are never on stage together, which would add a new dimension to the show.
The plot twist is wonderfully delivered by the cast in a fitting finale, however, this scene, is slightly rushed and when it does arrive takes us by surprise, rather than the crescendo it should have been. Nonetheless, the play is acted with eloquence and assurance by an outstanding cast.
BLESSINGS
Riverside Studios
Reviewed on 2nd October 2025
by Luke Goscomb
Photography by Lidia Crisafulli
Previously reviewed at this venue:
BROWN GIRL NOISE | ★★★½ | September 2025
INTERVIEW | ★★★ | August 2025
NOOK | ★★ | August 2025
A MANCHESTER ANTHEM | ★★★★ | August 2025
HAPPY ENDING | ★★★★ | July 2025
DEAR ANNIE, I HATE YOU | ★★★★ | May 2025
THE EMPIRE STRIPS BACK | ★★★★★ | May 2025
SISYPHEAN QUICK FIX | ★★★ | March 2025
