England and Son review: A tragic tale of stolen youth, rage, and outrage
Following the massive success achieved at the Edinburgh Fringe Festival, Fringe First, and Lustrum Award-winning play England and Son lands on Manchester’s HOME Theatre stage for five nights only, and I can assure you it’s not one to miss.
Ed Edwards’ new play presents a nuanced and multilayered exploration of character and childhood, examined through the prisms of capitalism and the British Empire. This one-man show has been meticulously crafted for the award-winning political comedian Mark Thomas—a decision that proves to be profoundly apt. Set against the backdrop of Thatcher’s Britain, the audience is introduced to the protagonist in a poignant opening scene.
Here, Mark Thomas is found in a foetal position, emitting screams of pain— a portrayal that suggests he is simultaneously experiencing rebirth, while also humorously revealing him to be simply lying drunk behind a Wetherspoon’s pub. Intriguingly, the narrative circles back to this moment as it concludes. Throughout the play, the narrative seamlessly oscillates between various life stages of the character, endeavouring to unravel the complexities of his journey, and presenting glimpses of the protagonist in both his adulthood and his childhood.
“England used to build things, son… Now we knock everything down.”
The portrayal of the father in the play is notably complex, as he simultaneously represents the story’s antagonist—his actions precipitate the protagonist’s entry into foster care—and serves as a crucial link connecting the personal dimensions of the narrative to its broader political themes, including capitalism, the British Empire, and colonialism. The audience witnesses the father reminiscing about his tenure in the British Army, detailing his deployment in Malaysia, and boasting of his role in shaping the country. Adding a layer of symbolism to his character, he bears the meaningful surname ‘England.’
A moment that profoundly captures the intertwining of the personal and political dimensions of the play arises early in the narrative, during a conversation between father and son about their aspirations for a family business, whimsically envisioned as ‘England and Son’. This conversation brims with optimism, painting a picture of a hopeful and promising future. Yet, it is the father’s line, “England used to build things, son…now we knock everything down,” encapsulates the very essence of the play.
This poignant statement sheds light on various thematic layers: it reflects the father’s struggle with PTSD and his sense of pride, critiques Thatcher’s neglect of the working class, and highlights the failings of the prison system. As the story unfolds and the family’s stability crumbles, the protagonist finds himself abandoned and entrapped in a vicious loop. Despite the kindness and generosity of Martha, the social worker striving to aid him, the main character remains ensnared. The once sweet and hopeful young boy becomes obscured and lost under the oppressive shadows of the two dominant ‘England’s in his life— the father and the country— neither of which offer him a comforting smile or a way out.
The play is beautifully heartbreaking, weaving strands of comedy, lived experience, rage, and outrage to create a heartbreaking tapestry. This emotional resonance is a testament to the synergistic partnership between Edwards’ nuanced writing and Thomas’ compelling performance. Their deep connection is a byproduct of their shared experiences with family dynamics, the complexities of the legal system, and a commitment to political activism.
Under the direction of Cressida Brown, Thomas exhibits an unparalleled mastery in capturing the depth of the character’s pain and joy. He ensures the audience remains captivated from start to finish, as he seamlessly transitions between the imposing presence of the father and the compassionate demeanour of social worker Martha, executing both roles with subtlety and grace. His moving performance simultaneously breaks the audience’s heart and stitches it back together with every passing minute. As the narrative unfolds, the play, regrettably, becomes increasingly bereft of hope, further intensifying its emotional impact.
Playwright and author Ed Edwards, drawing from his own encounters with the criminal justice system, has consistently integrated his lived experiences into his literary works. His novels, and notably, his acclaimed play The Political History of Smack and Crack, which won the Lustrum Award in 2018, tackles themes akin to those in England and Son.
The audience in Manchester had the unique opportunity to immerse themselves further in Edwards’ storytelling that evening, as Thomas graced the stage to perform a work-in-progress piece just prior to the main performance. This piece, a collaborative effort between Edwards, Thomas, and a group of recovering addicts participating in workshops, showcased Thomas’ remarkable versatility as an actor.
In this prelude to the main event, Thomas brought to life myriad distinct, unapologetically authentic characters, transporting the audience into their worlds and setting a tone of intimacy and informality for the evening. He engaged directly with the audience, taking the time to speak with latecomers and fill them in on what they had missed— a gesture underscoring the significance of establishing a personal connection in the context of such dark and complex themes. This meticulous attention to the individual experience, combined with Thomas’ adept handling of both the comedic and dramatic elements of the performance, resulted in a display of exceptional quality across all fronts of the show.
Ultimately, the play doesn’t primarily aim to provide clear-cut answers or straightforward solutions. Instead, it endeavours to initiate a process of connection-making within an intricate web, utilising an inquiry strategy. It encourages the audience to delve beneath the surface, drawing connections amid the dark, devastating commentaries on humanity and the gritty comedy intertwined throughout.
The task set out by the play is a hefty one but achieved brilliantly through show-stopping performance, writing and directing. While unpacking a deep-rooted history of colonialism, disregarding working-class offenders, and broadening the lens through which to see this individual struggle, this is the story of a boy and all the things that were stolen from him: his youth, hope, dreams, and family.
England and Son by Ed Edwards is playing at HOME Theatre as part of HOME Theatre 2 Autumn 2023 Season until November 4 2023.
More Coverage
Hedda review: A misguided imitation of Ibsen’s masterpiece
My Beautiful Laundrette review: Nationalism, racial tensions, and political turmoil
Come From Away press launch: A community show for Christmas
