No one would want a family reunion like the one in The Book of Grace, but the audience will certainly enjoy the unraveling of dark secrets. This three-person drama begins with the arrival of a man named Buddy, who comes home with a test for his egocentric father, Vet. Their strained relationship is observed from the eyes of Grace, a cheerful woman who is confident she can smooth out the trouble between her husband and stepson. Their story, she assumes, will end well like every piece of good news noted down in her book. But is everything going as in the book of Grace? Maybe it is bigger than she thought. By “it” I mean the hole in their yard, literally. What on earth is that for?
It is tempting for the audience and for Grace to ignore it. There are promising signs everywhere: Buddy plans to attend a ceremony, where Vet will be awarded for his service, and Vet promises to get Buddy a job, which is exactly what the young man needs. In their dialogue subtle layers of power dynamics are unveiled. The profession of Vet as a patrol officer on the border is transformed into a metaphor, situating the philosophy about border and control at the core of this character. By blurring the boundary between his professional and family duties, Vet skillfully manipulates Buddy’s expectations as his son and as a potential subordinate.
The reactions of the son are interesting to watch. Buddy swings between trying to prove himself well-established with the hope of his father’s approval and playing with ironies and lies, which hide his secret revenge. Peter De Jersey as Vet adds a touch of funny clumsiness to his character, revealing the insecurities of an old patriarch in the twilight of his life, whereas Daniel Francis-Swaby underlines the sophistication of Buddy.
The presence of Grace reminds the two men that love and belief in each other are worth any compromise. However, her control over the story is challenged and gradually dissolved, notably by the lighting, which emphasises different spots of hiding objects and casts doubt on any moment of tenderness with spooky light effects. Horror and suspension sneak into the innocent-looking family drama, implying that the father can go further to maintain his authority, and the son has long conspired to change his secondary status. The play takes a dark turn when The Book of Grace is at the risk of becoming a modern tragedy of Oedipus. Can Grace save her book? For whom is that hole in the yard prepared? The ending is thought-provoking and hard to conclude.
The script of Suzan-Lori Parks carries profound psychological depth, which, occasionally, the actors struggled to convey in an abrupt emotional transition or the director did not explore to its fullest. Despite some flaws, The Book of Grace is a striking story about power and love within a family.
The Book of Grace is at The Arcola Theatre until 8th June 2024
