Review of ‘The Gathered Leaves’: “Soul-searching narrative builds characters worth rooting for, but cuts down their growth”

London’s Park Theatre hosts the return of Andrew Keatly’s stirring play about autism and family relationships, in a new full-scale production featuring a star-studded cast. Guillermo Nazara shares his views on the show to let us know if its shaded storyline brings enough poignancy to the frond.

It’s become fashionable in the last few years to embrace the difference — or at least, that’s what they expect us to profess in front of the world. Yet, it’s not that long ago that neurodivergence, and practically anything that stepped one foot beyond the norm, carried the burden of disdain and ostracism as its signature brand.

Classic films like Rain Man (which, of course, couldn’t go unquoted in a play also starring an autistic savant) have drawn the spotlight onto a reality that fiction has also mystified. And despite the movie’s endearing tone and Dustin Hoffman’s arguably impeccable performance, it wouldn’t hurt to bring a show that portrays this condition closer to what it’s usually like.

Writer Andrew Keatley builds a compelling narrative in terms of message and themes. Set around a family reunion coinciding with their conservative patriarch’s birthday, the play explores the struggles of a household clashing with their ideas about what the true priorities in life are. Racism, the freedom of choice for one’s path, and estrangement from one’s relatives converge in an overall appealing, touching plot — criss-crossing through the pure, innocent presence of their socially impaired sibling, Samuel.

The script does an excellent job of gripping both the viewer’s emotions and interest from the start. Concocting a resonant story that exudes a decent level of profundity, Keatley’s ability to pull on the heartstrings (though exceedingly noticeable at some moments) is exceptionally effective. Gravitas and truthfulness pour through every scene, crafted through engaging dialogue that’s well-endowed with wit and naturalness. And on the whole, the first two-thirds of the recount flaunt immaculate rhythm and structure.

The problem arises with the second act’s inability to wrap things up in a satisfying manner, losing part of its counterpart’s richness by leaving us with a burning sensation of rush and inconclusiveness. Many character arcs feel unfinished, with a couple remaining in a sketchy state. We can see evolution in all the key personages. Yet, the process of moving from one point to another is blurred and hasty — and on several occasions, it comes off as incomplete and far from having reached its final destination. At the same time, the lack of a better-paced buildup leads to such an anticlimactic ending, deprived of most of the poignancy it so clearly aims for.

There’s a sporadic absence of flow among scenes, which we should probably blame on its slightly unpolished lighting. Generally opting for a figurative approach, Paul Pyant’s lighting accentuates the plot’s sentimental cargo through dramatic pauses in between cuts, where his visuals adopt a more poetic style. However, many of those come across as shoehorned rather than organic, while their overall stagnant and repetitive vibe during the rest of the performance compromises its storytelling efficiency.

Despite these flaws, it’s impossible to deny the superb quality of the entire cast. Boasting extraordinary chemistry, presence, and layering in their execution, Jonathan Hyde makes one of the most memorable appearances as the grumpy head of the family, William, through a poised, commanding execution that’s nowhere short of charm. In addition, George Lorimer also gives a standout rendition as the playfully challenging grandson, Simon, oozing flair and comical deftness through the role’s tongue-in-cheek remarks. The highest praise, however, goes to Richard Stirling as the protagonist, Simon, who reinforces his exquisitely realistic performance with the warmth and wholesomeness he empowers his character with.

Bold, spirited, and thought-provoking, The Gathered Leaves sets an inviting path for a soulful exploration of human relationships. Yet, its hurried, underdeveloped finale rakes in too many concepts without giving them sufficient space to unfold. Already parting from a strong and solid premise, the show should only require some extra pruning for all its topics to bloom. Until then, its third act will stay germinal, and a little withered.

All pictures credit to Rich Southgate.

The Gathered Leaves plays at London’s Park Theatre until 20 September. Tickets are available on the following link.

By Guillermo Nazara