Culture clash: Olivia Poulet (Izzy), Susannah Doyle (Natasha), Amy Robbins (Mo) and Jacqueline Boatswain (Angela). Photograph by Mark Douet
Play: Adult Supervision
Theatre: Park Theatre
Playwright: Sarah Rutherford
Review by Natalie Gormally
Sarah Rutherford’s female-led debut play looks at the underlining racial tensions and social embarrassments of modern day ‘Beige Britain’.
It’s US election night 2008. Natasha (Susannah Doyle), an uptight and snobby ex-lawyer, takes this opportunity to throw a drinks party for the “mothers of children of colour” who attend her children’s exclusive north London school. A mother of two adopted Ethiopian children, Natasha has meticulously planned the night – from the strategic positioning of her African figurines to the Ethiopian-inspired feast provided.
Her guests are all new to one another – the poised Angela (Jacqueline Boatswain), a heavily pregnant black woman married to a white man, the feisty Mo (Amy Robbins), a white woman married to a black man, and the gauche Izzy (Olivia Poulet), who is white with white children and appears to be there more out of obligation than meeting the invitation’s cultural prerequisites.
The women attempt to break the ice through a mix of alcohol and party games, but after one too many “Obamatinis”, tongues begin to loosen and the evening quickly descends into a minefield of social and racial faux pas. Izzy, who is politically incorrect yet well-meaning, says: “I just don’t see people that way … I think I must be colourblind or something.”
Mo and Angela discuss the prejudice they have experienced by being with partners of a different race. “I get black men talking it personally that I’m with Owen, like it’s an insult to the whole of black mankind,” Angela explains, while Mo adds: “The worst thing is being seen as some kind of interloper.”
As the tension builds, a shocking revelation about Izzy’s partner leaves all the mothers worried about their spouses and children who have gone camping together and sparks complete mayhem. Natasha’s control freakiness and over-prescribed parenting approach unravels, much like her party. Mo becomes even more bullish in her approach. Angela’s principles are questioned. As for Izzy, she launches into a drunken, tirade about the “multicultural hierarchy” that has left “perfectly nice” white folk afraid to open their mouths for fear of being accused of a hate crime.
Sarah Rutherford’s engaging, witty and thought provoking script inspires stunned gasps of recognition from the audience. The performance from the four strong cast is solid. Poulet particularly shines as Izzy and her tactless gaffes show great comic timing. Doyle plays uptight Natasha perfectly. Robbins manages to pull off a difficult mix of brassy and mother earth and Boatswain is effortless in her transition from the self-assured to insecure Angela, a credit to Jez Bond’s energetic direction.
Despite these pluses, the play loses its shine in places as the countless sub-plots renders the play implausible and silly at times, taking away from the strong dialogue and fundamental message about the ongoing challenges facing modern multicultural Britain.
Adult Supervision is at Park Theatre until 3 November 2013.