At first glance, Cul De Sac is nothing more than a play that brings together four individuals: suburban housewife Ruth, her uptight husband Frank, their socially awkward neighbour Simon, and the neurotic Marie. Finding themselves in Ruth and Frank’s lounge one evening with a never-ending stream of sherry, the foursome have an awkward and chaotic dynamic – talking over one another, Simon excessively apologising, and prolonged hums of silence, divulging the various tensions in their lives.
Frank has a fixation on an unknown car parked in the driveway, Simon’s brother is banging his wife, and Marie is occupied by… something, on her burner phone. While the early dynamics are entertaining, particularly with Ruth and Simon’s clumsy interactions and candid conversations, I thought it was a rather slow start to the story, unsure of where it would lead. Yet, as time went on, the undercurrents started to reveal themselves, and I was hooked.
The dynamics of the characters soon become clear: Ruth is in a self-proclaimed involuntary retirement and her marriage to Frank is hanging on by a thread. The tension that arises between them is a source of discomfort for Marie and Simon, who are battling their own demons – which is ironic, considering Marie’s status as the Cul De Sac’s good Christian.
Shereen Roushbaiani is commendable; she strikes a beautiful balance of charisma, sass, intellect, emotion and authenticity as Ruth. Ellis J. Wells plays the uptight and condescending yet highly emotive Frank with ease and humour, and Callum Patrick Hughes shines as the socially awkward, geeky, sexually ambiguous Simon – an undeniable talent.
Lucy Farrett is remarkable as Marie, bringing us on her journey of perhaps inadvertent self-discovery whilst in an unhappy marriage, living a life that she did not choose for herself. Late to the party is Hamza, played by the wonderful and charismatic Behkam Salehani. He brings an easy-going, geezer-type of charm to the tension in the room, but his talent is most discernible in his powerful delivery in detailing his struggles of being a Muslim in the UK.
Chuck five people into a room with a case full of sherry and a difference of opinion, and secrets are bound to reveal themselves – just as Saint John intended. Cul De Sac is a poignant story of the complexities of human connection; what binds us together and what tears us apart. It is beautifully written by David Shopland, and perfectly executed by the outstanding cast. It is a play that is brimming with humour, chaos and tension, yet underpinned by people, and how we grapple with discontent, love, and loss. It is a tender and emotive play, and certainly one not to be missed on its limited run at the Omnibus Theatre.
