'Impeccable timing, well-crafted family dynamics and dramatic plot twists' - Hudi Charin reviews My People, an original tragi-comedy about Jewishness, family and coming of age.
Walking into The Pegg Theatre, you are transported from the SU to quite a different setting. A place with grape juice instead of wine, matzah instead of bread, and ham hidden sneakily in a Flora butter container. This is Passover, or, at least, Asha’s Passover, a night where she must endure her complex family.
(Spotlights / Olivia Younger)
My People, written and directed by Elliot Brett and produced by Jason Palmer, has been promoted as a 'dark, proudly-Jewish comedy centred around the relationship between Asha and her mother Debra.' As such, it could be expected that the play would be awkward, attempting to tread around uneasy cultural jokes and uncomfortable family dynamics. Instead, Brett manages within the first few minutes of the play, to perfectly introduce the key characters and their relationships to each other in such a way that the audience feels instantly acquainted with each person. Despite many uneasy moments, each situation is so masterfully managed that the play is never too awkward to enjoy. Every Jewish reference and joke is well-placed and never exclusionary.
In fact, it is actually surprising just how funny ‘My People’ is. Brett’s wit, combined with superb acting from every cast member, means that in many darker scenes, there are laugh-out-loud moments. Dan Sved as Toby was a particularly hilarious device throughout, whilst Bron Waugh’s appearance was short, but perfectly played, and a well-needed laugh in a bleak scene. The play is a rollercoaster of emotion, with the script and cast steering the journey perfectly. A particularly thought-provoking, poignant scene revolved around the traditional song ‘Dayenu’, or, ‘it would have been enough.’ The utilisation of the song’s message and application to the play’s characters was genius.
Spot-on casting meant every character was entirely believable. Eden Peppercorn embodied the troubled 17 year old Asha from her starting monologue and throughout. Likewise, from the moment Holly Cattle delivered her first cutting line -“don’t gender me, I may be a they-brew”- she embraced each quip and remark of snarky Rachel. Of course, Oskar House’s Dragon Den pitch as Eli would make anyone want to buy the naked popcorn flavour.
Despite each character being flawed and often troubled, they are written and played with such warmth that they are all likeable. Even Jacob Longstaff as James, perhaps the villain of the play, was portrayed sympathetically. Ella Margolin as Debra was particularly noteworthy. Despite Margolin being a second-year, after watching her attempt to marinade a salmon using a youtube tutorial, anyone would be convinced of her role as a middle-aged Jewish mother.
Little more can be said that would give the play justice. The impeccable timing, well-crafted family dynamics and dramatic plot twists can not be praised highly enough.
(Featured image credits: Spotlights / Olivia Younger)
★★★★★
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