London audiences rarely get the chance to see the work of prolific American playwright Theresa Rebeck, with the majority of her work never leaving the US. But, in a coup for the West End her latest work Mad House gets it world premiere in London at the Ambassadors Theatre.
The title might give away Rebeck’s current view of the United States, but it’s also more literal as this play, predominantly about a family feud, examines the lasting effects of schizophrenia and mental health issues on an individual and those who surround him.
Bill Pullman and David Harbour lead the cast as a father and son. In the opening scenes it feels like an Americana version of Steptoe and Son; Michael feels trapped and isolated caring for his dying father, and as Daniel swipes his breakfast off the table to infuriate his son, he gives the audience a mischievous gurning grin, but there’s a sense of impending malice too.
The arrival of Lillian (Akiya Henry), a hospice nurse, changes the dynamic of the household, a dynamic that’s to be further upset by the arrival of Michael’s siblings, Nedward and Pam, played by Stephen Wight and Sinéad Matthews. Conversation soon turns to the inheritance and while Michael is more realistic about the actual value of his father’s estate, Nedward and Pam have their eyes firmly on the prize.
As is Rebeck’s style, the characters are all richly drawn with multiple layers to explore. Michael is forced to unravel his past, in particular the death of his mother while he was in an institution. With the help of Lillian he finds some degree of strength to stand up to his brother and sister, but not before hiring two sex workers (Hanako Footman and Charlie Oscar) in an attempt to quench his father’s thirst for sex and Irish Whiskey in his final days.
The themes of mental health and our own mortality makes it sound like Mad House should be a serious affair, but it’s not entirely. The play is wickedly funny, filled with witty one-liners and clever comedy constructs, all helped by Bill Pullman’s exceptional comedy timing
Indeed, Pullman excels throughout. His return to the London stage is a tour-de-force which, under the direction of Moritz Von Stuelpnagel, is utterly captivating to watch. Along with Harbour, the pair are easily the best double act in the West End right now.
Akiya Henry also stands out in the role of Lillian, in later scenes when this character must also delve into past tragedies, Henry keeps the audience tightly gripped with an emotional monologue.
Theresa Rebeck’s writing achieves exactly what theatre is supposed to achieve, a visceral response from the audience. Sinéad Matthews portrayal of Pam is so frustratingly cruel that gasps of shock reverberate around the auditorium in her most vile moments, the audience are clearly invested and there’s almost a collective will for Pam to be held accountable for her actions.
Director, Moritz Von Stuelpnagel, allows Rebeck’s writing to hold the audience’s attention, and every movement on stage complements the text. Between scenes Isobel Waller-Bridge’s original compositions create an absorbing atmosphere that primes the audience for the next drama to unfold.
Theresa Rebeck’s Mad House is theatrical brilliance, a story we can all identify with, but beautifully told and elevated by complex characters. And with such a remarkable cast, audiences should be queuing up to get into this particular mad house.
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