Across three days, Richard and David and the two women in their lives, Mary, David’s wife and Richard’s new
(and much younger) girlfriend, Susan become embroiled in a gradual uncovering of the past and a revealing of
the truth which binds them all together.

" … it’s an outrageously honest analysis of character and relationships that deserves a national
audience." [Nottingham Evening Post]

Slushy initial background music tells you that this is going to be an ideal Perry Como-type family Christmas
get-together in Southwell, Notts; but the sickeningly skewed angle of the casement at the back suggests
otherwise. Think of all the appalling family Christmases you can recall and roll them into one. You have
this play.

Using an economic and subtle text - not a word is wasted - five expert actors sustain excruciatingly
embarrassing, and highly entertaining, stretches of tension and forced gaiety. These are continually
punctuated by even more entertaining rows. It’s rich in coarse humour, but it mercilessly takes its
complex, and alarmingly real, characters to pieces and lays their past bare. At the end we’re left with a
hopeless pile of wreckage.

The two brothers are splendidly contrasted. Richard, (Simon Merrells) the successful sports journalist up
from London, who wrestles with the main question posed - ‘How far are we our parents?’ - is the central character. But more interesting is David, the childlike and plodding stay-at-home, brilliantly realised by Tim
Dantay. Paradoxically, as he himself says, he’s the one who’s managed to move on, going some way towards
shaking himself free of his past.

Maurice Roeves turns in a brilliant performance as broken patriarch Tom. Browbeaten for years in the job
from which he’s just retired, he spent a lifetime taking it out on his family. But, since this play deals in real
people and not stage ciphers, Roeves makes him sympathetic all the same.

William Ivory’s debut stage play - one hopes there’ll be more - is a homage to his Nottinghamshire hometown.
But, far more importantly, it’s an outrageously honest analysis of character and relationships which deserves
a national audience.

[Alan Geary]

Having escaped his fiercely patriarchal father, Tom, by moving to London, he returns for a family Christmas
still full of anger and bitterness, particularly at the way his father treated his mother. Tom's bullying and
selfishness provoke arguments, but nothing angers Richard more than seeing how similar he is to his father.
However, the more he rebels against him and criticises his character, the more alike his father he becomes.

The alternative for Richard is to be like his younger brother, Dave, a mild-mannered hotel manager who waits
on his father hand and foot. Dave has learnt to forgive and put his childhood behind him but in the process has
become a doormat. Hence Richard is trapped between two equally unpalatable alternatives.

The ideas of nature and nurture are being explored here. Tom was bullied in his job and came home to take it
out on his family. Has Richard become a bully because of his upbringing or is it because he shares his father's
blood? Tom wants Richard to follow in his footsteps by taking life by the horns regardless of how much hurt he
causes. As Richard becomes bolder in confronting his father, Tom's respect for him grows which angers him further.

This is the first stage play from William Ivory, a well-respected screen writer who grew up in Southwell, Notts,
where the play is set. Considering it has the dullest title of any play, ever, it is gripping and complex. The whole
piece is very tightly written; apart from the unnecessary prologue, there isn't a single moment on stage wasted.
The characters are so believable and well-drawn that we get the uncomfortable sensation that we really are
intruding on a family row. The cast are all magnificent and you can feel the emotions that smoulder behind each
character's face. Particular mention must go to Simon Merrells for his portrayal of Richard's struggle with his
own contradictions.

This play is a truly great achievement and you are unlikely to see anything to match it in the theatre for a long
time. A moving, poignant and excellently executed work that is proud of its local setting and yet explores
universal themes.

[Adrian Bhagat]

BBC online

Across three days, Richard and David and the two women in their lives, Mary, David’s wife and Richard’s new
(and much younger) girlfriend Susan, become embroiled in a gradual uncovering of the past and a revealing of
the truth which binds them all together…

Christmas. “If it didn’t exist, you’d have to invent it” grins Dave, trying to keep the lid on the hideous family
‘scene’ brewing in the Southwell sitting room adorned with Persian rug and fairy lights.

It feels uncomfortably close to home in the auditorium, as issues heat up through the first half like pokers in
the fire.

Characters are beautifully drawn, cast, directed (Matt Aston) and played, from the bitter, wiry old man
(Maurice Roëves), his two sons – the angry outsider (Simon Merrells) and doormat Dave (Tim Dantay) - to
maternal Mary (Denise Black), “spice girl” Susan in her flimsy gold slingbacks (Elaine Glover) and even the
dying mother we never see. As the chestnuts start exploding in the second half, you’ll be blushing in the dark.
Death’s out in the open, alongside a pint of maggots on the River Trent.

Odd to hear carols in March, but it would be hard to watch sex on the dining room table with the in-laws at
December time.

The play cheats us of the aftermath to a tale told so warmly, with comedy and tragedy in spades.