Review of ‘Driftwood’: “Family-estrangement narrative is relatively unfulfilling”

It just took me one and a half hours to finally get hooked. And even then, there wasn’t that much grip. It’s a shame. Not an utter disappointment, but a shame anyway. A play about the reunion of an estranged mother and son should have brought me to tears. Or at least, caused some kind of reaction. One could only hope.

Nothing of the sort, most sadly. I wasn’t moved. I wasn’t enticed. And except for the final 30 minutes, I wasn’t really engaged. There’s nothing striking- let alone impressive -about Driftwood, except perhaps its ability to dodge pathos despite its extremely poignant premise.

I wonder why. How can an idea brimming with so much dramatic potential become such a flat piece of storytelling? Yet, it’s happened. Twice, as its arrival at the Kiln Theatre marks its return following its inaugural Stratford-upon-Avon run. Does that mean the show still speaks to people’s hearts? I sincerely doubt it. Not if they know better. Just like this play, which not only should have known better, but known itself better.

I’m not trying to be cryptic. Or overly philosophical. It’s just a plain dramaturgical notion. Make us feel for those characters. Explore them. And let us delve into the very depths of their soul — especially when the piece’s core themes involve child neglect and subsequent trauma, racism, and colonialism. For some reason, and despite some unfortunate attempts, the piece remains impassive. And sometimes, even inert.

Playwright Martina Laird creates a perfect setting but is apparently unsure about what to do with it. The plot’s basis is well established. It’s the way it’s been fleshed out that is the problem. For the most part, the script focuses on the wrong elements, resulting in exceedingly long scenes that seem to go nowhere. Many segments are devoid of tension. And it wouldn’t be far-fetched to say that they are pointless.

The upshot of so much padding is the action’s confinement to the end of the show. The lack of balance is evident. And despite that final crescendo, the structure inevitably collapses, making the events come across as slightly soap operatic, struggling to achieve the necessary insight and emotiveness.

Consequently, its message doesn’t permeate. Nor does its portrayal of survival in a world where others make the rules — even when it’s your own and not theirs. We can see the injustice. We can observe it. But it doesn’t resonate. Simply because we haven’t been given the tools to bond with the personages and eventually take their side.

The production is adequately staged, but it doesn’t brim with excellence. The entire recount takes place in the living area of a guest house in Puerto de Spain. The two side walls slide horizontally, as the room transitions from an intimate, somewhat claustrophobic enclosure to a more breathing space. A nice touch that carries some symbolism. Other than that, there’s nothing else. In their defence, it’s not like the story gave the designer too many opportunities to shine.

The company defends the text with enough deftness. There is presence, and there is rapport. And their naturalness is compelling despite some clunky dialogue sections, which are fairly disguised by the actors’ overall resourcefulness.

Among them, Ziggy Heath delivers one of the strongest portrayals as the arrogant, manipulative US Marine, Tom, while Martins Imhangbe’s rendition of Diamond perfectly captures the conflict, rage, and vulnerability of a broken man striving to do justice for himself. The highest praise goes to Ellen Thomas as Pearl, whose take on the role overflows with the truthfulness and flair of a self-made woman standing on a past full of pain and sacrifices.

It isn’t shockingly bad. Even calling it bad might be an overstatement. But it is average. And its starting point could have set up a more exciting path filled with both dramatic and thought-provoking qualities. And although some of those have made it to the final equation, there’s a long way to go before Driftwood does the right math. Although its narrative stays afloat, some of its most pivotal parts remain lost at sea.

All pictures credit to Marc Brenner.

Driftwood plays at London’s Kiln Theatre until 4 July. Tickets are available on the following link.

By Guillermo Nazara