REVIEW: MOTHER OF EXILES at The Hope Theatre 9 - 13 April

“Two exemplary performances, enticing interactions and some well-defined themes.” ★★★

Mother of Exiles follows the relationship between a young woman who has recently bought a bar in Brooklyn, New York and her teenage associate that works for her. The play touches on a number of themes such as alcoholism, socio-economic backgrounds and financial stress but at its core it is a story about family and responsibilities. It’s engaging throughout, aided by two commendable performances, and overcomes some fundamental flaws to provide a rewarding experience.

Despite being seemingly set in the 80s, the play seems more akin to US contemporary classics such as Arthur Miller’s ‘A View From The Bridge’. It feels raw and gritty, held together by some fast-flowing dialogue that instantly feels familiar to the city it is set in. If you removed the album posters on the wall and replaced the Cyndi Lauper music with Paul Anka then you could easily mistake it for the 1950s.

The characters are vivid and full of life and each scene bursts with energy.

Cameron, played by writer Bruno Magnanti, is initially the more complex of the two characters. At only 17 years of age and with an aptitude for literature he should have the world at his feet but has settled for a life of petty crime and bar work. Magnanti delivers the agitation and frustration impeccably of a young man who thinks he knows more than he does with the audience always alert to his unpredictable personality.

Meanwhile, Liberty, played by Imogen Mackenzie, is the titular character, the Mother of Exiles. Bearing the responsibility of not only running a bar that is losing money but also ensuring that she takes care of Cameron, Liberty’s anxiety slowly builds as the play progresses. The various emotional states that Liberty experiences are beautifully captured by Mackenzie who is particularly masterful when portraying her frustrations towards Cameron.

The relationship between the two characters is really the nucleus of the plot but, although there is definitely a chemistry between the two actors, it unfortunately falls a little short in selling what their relationship actually is. A big factor in this is that Magnanti’s Cameron never feels as young as the 17-year-old that he is meant to be, thus losing the vulnerability required to make the synthetic mother/son bond with Liberty work.

The energy in the play is driven by the dialogue which at its best is captivating and relentless. It’s not so much a game of verbal tennis between Cameron and Liberty but rather a game of squash as they take aim at each other and the world in which they live. There are few occasions in which they are allowed to breathe which helps build the pressure and create the tension needed in the final third.

The script though does feel a little unpolished in places, particularly as it tries to shift direction or jump forward. The change of gears is a little unnatural, served to the audience in a way that seems somewhat forced. Perhaps by easing the intensity in moments there could be room to nurture these in a more subtle fashion, relying more on the subtext which is definitely there but doesn’t seem to be trusted.

Overall, Mother of Exiles is a pleasant watch. It has all the foundations of a great play; two exemplary performances, enticing interactions and some well-defined themes. It’s held back by only a few niggling weaknesses which will no doubt be resolved with some minor adjustments.

Theatre Company: Look Closer Theatre Company @lookclosertc

Writer: Bruno Magnanti

Director: JT Stocks

Cast

Cameron: Bruno Magnanti

Liberty: Imogen Mackenzie