Sarah Shelton’s Blessings, now playing at Riverside Studios, returns to the stage following its earlier incarnation at the Riverside Bitesize Festival. Presented by Artful Entertainment, it is a nostalgic and emotionally charged exploration of family life in late 1960s England, set against the backdrop of Catholic tradition and shifting societal norms.
Set in 1969, a time of cultural upheaval and changing attitudes, Blessings centres on the Deacon family as they gather for Easter. Matriarch Dorie (Anna Acton) clings to respectability and religious values, while her husband Frank (Gary Webster) remains quietly observant. Their children return home: Martin (Freddie Webster), the smug eldest son; Penny (Milly Roberts), sharp and assertive; Frances (Hannah Traylen), rebellious and pregnant after being expelled from school; and Sally (Emily Lane), the youngest, watchful and wise beyond her years. The arrival of a new boyfriend and a priest with secrets of his own adds further tension to an already simmering household.
Originally conceived for television, the play’s structure reflects its screen roots. Scenes are short and snappy, often bouncing between characters and locations in a way that feels more suited to a soap opera than a stage drama. While this lends a certain pace, it also fragments the narrative, making it harder to fully invest in the emotional arcs until the final scene, where everything erupts in a flurry of revelations. It’s a slow burn that perhaps burns a little too slowly.
The production benefits from a strong ensemble cast. Gary Webster is compelling in dual roles as Frank and Father O’Brien, and his real-life son Freddie Webster makes an impressive professional stage debut. Emily Lane and Hannah Traylen are particularly engaging as Sally and Frances, bringing warmth and complexity to their roles. However, the doubling of roles among the cast occasionally causes confusion, detracting from the clarity of the storytelling.
Visually, the set is authentic of the period. Brightly coloured walls, patterned wallpaper and props like a copy of Jackie magazine evoke the era with charm. The inclusion of 1960s music adds a welcome layer of atmosphere, delighting the audience and grounding the play in its historical moment.
Despite its strengths, Blessings never quite reaches the dramatic heights it promises. The themes of faith, control and familial dysfunction are present but not fully explored, and the play meanders through its runtime with few standout moments until its climactic conclusion. It’s a good play, with flashes of brilliance, but one that might have found a more natural home on television.
Blessings is an interesting, if not groundbreaking, look at family life at the end of the 1960s. For those drawn to domestic drama and period nostalgia, it offers a thoughtful evening, even if it doesn’t quite deliver the emotional punch it aims for.
Listings and ticket information can be found here
