DEATH OF ENGLAND: CLOSING TIME at @SohoPlace

★★★★

“Duncan-Brewster and Doherty are simply thrilling to watch”

“Closing Time” is the third instalment of the “Death of England” trilogy of plays by Clint Dyer and Roy Williams. It has been a month since the first two – “Michael” and “Delroy”. During these first two monologues we were introduced to two off stage characters: Michael’s sister, Carly; and Delroy’s mother, Denise. We feel we know them both already such was the dynamic story telling of the actors. The anticipation is high as we wait to meet them in the flesh. We are not disappointed. From the moment Denise (Sharon Duncan-Brewster) and Carly (Erin Doherty) explode onto the stage we know we are in for another high-octane, scatter-gun ninety minutes of thought-provoking drama.

This time, though, it moves a little too fast. We are given no room to breathe as the two monologues compete and merge, overlap and clash, like a frantic tarantella dance; both women looking to purge the poisons that seem to have inflicted themselves and those around them. They spit and they rant, never knowing whether to attack or embrace. They attract and repel each other in equal measure, but therein lies our reservations. We, too, are unsure how far to be drawn in. Although there is no fourth wall there is an invisible barrier that keeps us at arm’s length this time. Perhaps there is just too much ranting (the monarchy, racism, colonialism, cancel culture, white privilege) or the delivery is just simply too fast, but we are less moved by the end than we were by their predecessors.

Duncan-Brewster’s Denise is simply captivating, however, as the accomplished yet frustrated chef. On her way to her dream, she has been running a food business in the East End. But it is closing down – or rather being closed down. Helping her pack up is her ‘daughter-in-sin’, Carly. Doherty gives a fierce, fire-cracker performance, her character sweeping the stage like a tornado. There is no eye of the storm, and Carly has no eye on the consequences of her actions. Her rebellious energy is intricately misplaced, epitomised in a drunken outburst (hilarious, yet ideologically as unsound as you can get) that is captured on camera and sent viral. Our cancel culture is brutally examined as these ill-chosen words lead to the collapse of Denise’s business. The causes and effects are brilliantly and dramatically evoked as the two actors swing between blame, forgiveness, defiance and pleading.

Still present is Benjamin Grant’s and Pete Malkin’s powerful and atmospheric sound design with its orchestral stabs, muted underscoring and thrilling realism; complemented by Jackie Shemesh’s lighting with its staccato shifts in perfect rhythm to the dialogue. The leitmotifs are all there, but the familiarity now lends an air of predictability. Similarly, we also start to feel that the characters’ views belong more to the writers; an impression that was absent in the first two monologues. Yet, despite a creeping impartiality in the text, we ultimately feel the magnetism of, and empathise with, these two broken personalities who show us that reconciliation is never completely out of reach. Duncan-Brewster and Doherty are simply thrilling to watch.

A month ago, I wrote that plays like “Death of England” are what keep English theatre well and truly alive – beating in the heart of the West End like the vital organ it is. By the time we reach “Closing Time” the sentiment still holds true, if a little wavering by now. But any signs of arrhythmia are swiftly curtailed by the outstanding performances.

DEATH OF ENGLAND: CLOSING TIME at @SohoPlace

Reviewed on 28th August 2024

by Jonathan Evans

Photography by Helen Murray

Previously reviewed at this venue:

DEATH OF ENGLAND: DELROY | ★★★★★ | July 2024

DEATH OF ENGLAND: MICHAEL | ★★★★★ | July 2024

THE LITTLE BIG THINGS | ★★★★ | September 2023

BROKEBACK MOUNTAIN | ★★★★★ | May 2023

DEATH OF ENGLAND: CLOSING TIME

DEATH OF ENGLAND: CLOSING TIME

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