Bridge Theatre – until 26 May
Reviewed by Claire Roderick
4****
The harsh realities of rural life are brought into sharp relief in Barney Norris’s Nightfall. Set on a farm in Hampshire, the conflict and expectations of different generations come to the surface as childhood friend Pete returns after spending time in prison. Pete was Lou’s boyfriend and her brother Ryan’s best friend, spending most of his time on the farm rather than at his home on the council estate. Lou and Pete’s father Des died while Pete was away, and neither the siblings nor their mother Jenny have come to terms with their grief. When Pete helps Ryan in a scheme to make a little extra illegal cash, things begin to unravel for Jenny and her dream of the future.
The economic fragility of farming is represented by the huge oil pipeline dominating the set, signalling before the play starts that this is a farm in trouble, even though we later learn that Des agreed to the pipeline for spiteful as well as monetary reasons. Designer Rae Smith has created a realistic farm garden, with an old septic tank next to the garden furniture, farm machinery rusting away and the patchy lawn of a family with more important things to worry about. The huge stage was a little overwhelming at first, until you realise that director Laurie Sansom has the characters always removing themselves to a safe distance, never quite making the connections they need to understand each other.
Ophelia Lovibond and Sion Daniel Young are devastating as Lou and Ryan, both portraying grief, guilt and reluctant duty in contrasting but convincing ways. Claire Skinner gives a fascinating performance as Jenny, at first seeming funny and snarky in a wine buzz haze, but as things slip out of our control, revealing the devious and manipulative hardness beneath as she fights to keep her family together, whether they want it or not. Ukweli Roach slowly reveals Pete’s strength and honour in a restrained but likeable performance.
Norris’ deft writing touches on many relevant topics for rural families – the balance of clinging to tradition and family history, and economic and pragmatic choices that free future generations from debt; the need for younger generations to strike out on their own and find their own way in the world rather than dutifully follow the family’s expectations. Jenny’s selfish grief, sanctifying her bully of a husband and manipulating her children to keep them near, is beautifully written – with some lines making the audience gasp with horror. And most satisfyingly, there are no obvious happy endings for any of the characters, only a slight hope for change.
With a wonderful cast and superlative writing, Nightfall is a must-see.