NOOK at the Union Theatre
★★½
“Nook is best in its moments of tenderness”
A tense family drama revolving around a shared history of trauma, Off Main Stage’s new production Nook shines a light on the lasting effects of wounds from childhood: how they shape entire lives and cause permanent fissures between siblings.
Writer Cameron Corcoran, who also plays Tom, the younger of two brothers, creates a simple but effective narrative device: following their mother’s funeral, two brothers and a sister return to the home where they grew up, in order to read the will. The brothers are accompanied by their wives, and their uncle Phillip (Tim Molyneux) an alcoholic in recovery who lived with their mother and credits her with turning his life around. He is also the only one to hold any tenderness for the mother, and he tries to convince the siblings that she was more than the monster they remember her as. The tensions simmering just below the surface erupt when the will is read and everything is left to the eldest brother Kenny, played by Shannon Smith.
The play addresses the insidious consequences of physical and sexual abuse, with the mother’s ‘hands on’ parenting and an obscure past incident between sister Beth (Velvet Brown) and Phillip never far from the minds of the characters. The tensions emerging from class dynamics within relationships are also central: both brothers have married aspirational middle-class women – as evidenced by their choice of children’s names: Hugo and Arabella – who are appalled by their husbands’ behaviour upon returning to the house, where they revert to their old, combative selves.
Overall, the performances are good, Brown is compelling as the emotionally damaged sister trying to keep the family together. Kenny’s wife Sarah, played well by Zoë Scott, is all barely contained rage and contempt, while Tom’s partner Maya (Aoife Boyle) is by turns supportive and exasperated. The stage set is simple and evocative, a basic living room set up of sofa, armchair and coffee table is a fitting backdrop for the confrontations, uneasy alliances, and emotional outbursts that drive the play. Hector Smith’s direction enables the actors to make the best of this space, and the physical performances are striking; Corcoran’s adoption of childlike mannerisms in the presence of his overbearing older brother is particularly commendable.
Nevertheless, the narrative lacunae and the things left unsaid, while perhaps an accurate depiction of the difficulties sharing traumatic experiences, leave the audience too uncertain about events – there is little for us to grasp onto in terms of plot, leading to a sense of waiting for a revelation that never truly emerges. Nook is best in its moments of tenderness, as Sarah and Maya try to comfort and guide their husbands, but these are too fleeting. The play opens with Sarah’s bitterness and irritability, and this sets the tone for the action to come, creating a piece that is possibly too tonally consistent, and lacking in the elements of comedy that make the malevolent family-oriented work of playwrights like Harold Pinter so compelling.
NOOK at the Union Theatre
Reviewed on 19th August 2024
by Rob Tomlinson
Previously reviewed at this venue:
WET FEET | ★★★★ | June 2024
THE ESSENCE OF AUDREY | ★★★★ | February 2024
GHOST ON A WIRE | ★★★ | September 2022
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