★★★

“strong representation of modern mother and daughter relationships with beautifully honest and down-to earth delivery”

Wish You Weren’t Here, written by Katie Redford, tells the story of a mother and daughter from Sheffield going on a weekend getaway to Scarborough. Mila (Olivia Pentelow) is sixteen and overwhelmingly ‘over it’. Her mother Lorna (Eleanor Henderson) is a single mum and desperate to connect to her daughter. Their dynamic grows in complexity as the audience are taken on a whistlestop tour of topical inter-generational issues including feminism, social media and the environment. In a curious, but emblematic of the current era, characterisation Lorna appears more carefree and fun-seeking whereas her teenage daughter is more reserved and uninspired; a sign of the times. The weekend trip proves testing for both characters in this emotive and comical two-hander. The story is modern and well-tuned with realistic and playful dialogue throughout, making up for its somewhat well-trodden subject matter.

The themes of the play, likely as a result of being based on conversations and testimony from hundreds of young people by the Theatre Centre. Its mission to work with young people ‘to write a better future’ is further reflected in the show’s ultimate message of healing. As a piece of theatre in education, Wish You Weren’t Here reflects the zeitgeist of teenagers and does so without cringe-inducing references or ham-fisted observations. Both mother and daughter grapple with phones (adults are equally screen-addicted as youth) and both can relate to insecurities as women.

Scarborough and its trappings as a seaside destination are staged with five simple platforms at various heights (Bethany Wells) and through videos shown on tv screens, which also depicts the intensity of technology in the characters’ lives (Rob Watt). The tone of scenes is supplemented by lighting evoking bright arcades and dark streets (Jess Brigham). The sound design complements the videos and action (Tom Sharkett). Additionally, detailed and accurate images on the prop phones make the large usage of phones on stage infinitely less distracting (no obviously dark or incorrect screens when texting or facetiming! It’s the little things!)

A major success of Wish You Weren’t Here is the heartfelt performances of its cast, directed by Rob Watt. Pentelow embodies an eye-rolling apathetic teenager and impassioned but hurt girl struggling with the world with outstanding realism. Brilliantly, Henderson manages to appear both in opposition and support of her daughter, sharing her experiences as a once teenage mother with energy and presence. She ultimately tries to protect her daughter from hard truths whilst exposing her own flaws as events unfold. The pair portray a funny and tested relationship accompanied with some impressive “Dance Dance Revolution” sequences (Movement by Kiren Virdee) and ramblings about mushrooms “they need shit to grow”.

The show is a strong representation of modern mother and daughter relationships with beautifully honest and down-to earth delivery.

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

Two Rounds explores the legacy of womanhood through two generations of four women in a tender and contemplative story. The first group we meet is a tea-party of housewives living in 1960s Italy. Translated from its original Italian debut and written by Cristina Comencini, the piece is a long conversation between four mothers. In the second act the actors play their respective daughters. Nothing happens to the characters beyond what they simply reveal dramatically to each other and events described off-stage. Beatrice, a vision in pink, (Daria Mazzocchio) is pregnant with her first child. Claudia (Natalie Cutler) in a green poodle skirt is uptight and traditionalist and consistently reminds Beatrice to expect even more pain in childbirth than whatever she imagines. Briskly dealing cards for the game is Gabriella (Flora Sowerby), in blue mid-length trousers. She criticises the nature of their housewife role with dry humour and knowing looks. Lastly, in matching purple headband and trousers is Sofia. She wins often at cards, but feels she has not won at life. Sofia (Saria Steyl) laments her life and delivers philosophical rants whilst chain smoking (around a pregnant woman…it’s definitely the 60s!) with pithy delivery.

Permeating the emotional moments is bright and dreamy lighting with vibrant pinks and an occasional flickering hanging lamp (Han Sayles). The set consists of a living room decorated with a somewhat kitsch collage of black and white photos of brides, mothers and families with the costumes doing heavy lifting in evoking the time period (Evelien Van Camp). Further punctuating the drama in the women’s conversation is a light piano score and Italian music (Hattie North). At the change to the next generation the home is draped in sheets and with cooler more sombre lighting and some Nokia ringtones to garnish its 90s setting.

“it is performed with quiet strength from the cast in both acts”

The relationship between mother and daughter is captured through the dual roles of the performers. Beatrice, pregnant with her daughter Giulia tells us she adored her mother who died. Directly mirroring these events in the 90s, Giulia (Mazzocchio) gathers her childhood friends after a funeral. Claudia, who idolised her mother, discusses the value she places in her role as a parent. In the second act, her daughter Cecilia (Cutler) is desperate to be pregnant. Gabriella, who feels lonely and side-lined proclaims she will teach her daughter Sara to play piano. Sara (Sowerby), a concert pianist, wishes her husband were more assertive in their marriage, disliking how he emasculates himself. Sofia feels dispassionate about her role in her daughter’s life. A doctor, Rossana (Steyl), who keeps an unlit cigarette in her mouth (it’s a metaphor) discusses balancing a career and family life. The women in the 90s generation discuss their problems with feminism and to some extent seem to dislike some of the freedoms they have that their mothers didn’t. The women of the elder generation casually admit to adultery, loneliness and resentment with their respective daughters supposedly in the room next door. Conversely, none of the daughters have become mothers in the second half and have made their own choices in their work and love lives.

Overall it is performed with quiet strength from the cast in both acts. Steyl’s performance enamours the audience to a regretful and bitter Sofia. Mazzocchio is endearing as Beatrice and Giulia, showing range. Directed by Aida Rocci, the scenes weave through the tea party and funeral but avoid over-the-top melodrama with expertly placed jokes by Cutler and Sowerby. However in lieu of conflict, expositional dialogue takes up the entire runtime. It is a tear-stained love letter to mothers and daughters.

WISH YOU WEREN’T HERE at the Soho Theatre

★★★

“strong representation of modern mother and daughter relationships with beautifully honest and down-to earth delivery”

WISH YOU WEREN’T HERE at the Soho Theatre

Reviewed on 22nd February 2024

by Jessica Potts

Photography by Chris Saunders

Previously reviewed at this venue:

WISH YOU WEREN’T HERE

WISH YOU WEREN’T HERE

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

“it is performed with quiet strength from the cast in both acts”