Fatherland ★★★★★

Written by Nancy Farino, Fatherland is a debut play that explores generational attitudes towards mental health problems. Beginning on a bus, all three characters have a journey of their own. The way that Farino approaches such enormous topics is delicate, relatable, and hilarious.

Winston Smith (Jason Thorpe) and Joy (Nancy Farino) are a father/daughter duo struggling in their personal lives. As per Winston’s request, Joy unwillingly partakes in a Thelma and Louise-type road trip to find their Irish roots. They go on both a literal and metaphorical journey where they are forced to talk about themselves. Joy is the one who prevails. Playing at the intimate Hampstead Theatre in the downstairs studio, with a 100-minute run time (no interval), the exploitation of space and set is crucial, as a lot of the drama happens in a moving vehicle. Tessa Walker directs Fatherland, and she has a solid track record, working on successful shows like Ravenscourt and Big Big Sky and receiving praise for her sympathetic, unfussy direction. In Fatherland, Walker’s reputation speaks for itself. With such an ambitious debut play, Farino and Walker keep you engaged and laughing out loud.

Fatherland, as well as exploring mental health problems, is a witty and refined exploration of character and womanhood. Farino’s writing is a gift to the actors. As Winston is introduced, muttering “My name is Winston Smith, and only good things happen to me” repeatedly, he is a believable buffoon! A life coach with a mantra, a divorced father with lots of ambition, and one big idea. He shows up to Joy’s house for an impromptu road trip to County Mayo, seeking an answer to his existential feelings. Laced with jokes, a light-hearted dynamic is initially explored between the father and daughter. However, as the plot builds, the characters open up. Winston’s past is revealed. With a negligence claim on his hands, reality unravels, and it becomes chillingly clear that he is not the ‘cool dad’ he is assumed to be. At this point, you will be hooked, because Farino has perfectly set you up for it. Claire (Shona Babayemi) is Winston’s lawyer, who gracefully dips in and out of the main plotline, giving necessary context to the brittle relationship between Winston and Joy. A hardness to her character complements the chaos of the other two deliciously, whilst becoming a victim of Winston’s latest letdown herself. Farino writes the female experience with nuance that is refreshing and knocks it out of the park.

Farino is clearly talented. The script is just excitingly clever, and the actors know how to use it. At points, though, profanities are overused and became slightly boring and ineffective. For example, Joy does not need to swear five times quickly to convey the feeling of a panic attack (which happens a few times!). If Farino held back on the swearing just a little, it would be so much more impactful when tensions are at their highest. Despite this, high praise must be given to all three actors for their quick comic timing, projection (challenging on a thrust stage), and chemistry together. Shona Babayemi is an actor who understands the importance of playing straight in an otherwise busy piece of theatre. As she doesn’t interact with Joy at all, it’s difficult to figure out her objective within the play, but her visible character progression is so satisfying to see, as it aids the watcher’s understanding of her. The same can be said for Jason Thorpe. With such a well-defined character to work from already, his take on Winston Smith is all-round enjoyable to watch, especially when his true character is unveiled. Last but not least, Nancy Farino is a joy (ha!) to watch as well. Her voice, both on stage and on paper, is powerful. Her ability to embody a young woman figuring out love and connection is hard-hittingly good. You must see these actors!

The set is minimal without taking away from the quality of the show. In fact, it makes the production. With two car seats, a radio and a white tarp, the team creates numerous successful and clear-cut settings. There is no need to worry about staging a road trip when Tess Walker is directing it. There are some limitations due to the thrust staging, but these are minimal and acceptable with some inventive blocking (and some suspension of disbelief!). Joy has three distinctive dreamscape monologues that could very easily slip into pretentiousness. However, with Walker’s direction, Farino’s fascinating delivery and the savviness of the technical team, the scenes are really well paced and really well created. A divine purple hue and soft snowflakes that fall into an airy spotlight on Joy are crucial to making the cold atmosphere that is desired. The tech makes the show, because the tech brings Farino’s tasteful metaphor for seasonal depression to life.

New and upcoming theatre is, famously, a little rough around the edges, but it is so important, and this is a good show worth supporting. If you do decide to see it, sink your teeth into the relievingly good script. It is full of comedy, purpose, and real-life problems. Technically speaking, no questions are left unanswered, the transitions are so clever, and the acting is a treat. Kudos to designer Debbie Duru and lighting designer Christopher Nairne. Watching Fatherland is a visual feast and an emotional odyssey.