Bush Theatre, 15th May 2019
Good intention. Examine the way the education process, despite the best intentions of those who operate it, can fail those who start with least advantage. Interesting central conceit. Take the parents whose son is the subject of their meeting with his teacher, and show them as their child selves. And some fine observation on class, expectation, educational prejudice and the language that educators use. Ultimately though both the Tourist and the SO weren’t completely convinced by the play’s apparent conclusions and by some of the narrative leaps taken along the way.
Dubliners Brian (Stephen Jones) and Donna (Sarah Morris) are the estranged parents of Jayden who have been called in to meet his teacher Ray McCafferty (Will O’Connell). Taxi driver Brian arrives early and his discomfort with environment, (this was his old school), and situation, (he is conscious about his own educational achievement), is palpable. Ray, in his eminently reasonable primary school teacher way, does his best to reassure him. Donna arrives and Ray explains that Jayden has fallen behind in his literary and might need some help, perhaps including the intervention of an educational psychologist. So far so awkward. We then switch to Jayden and Kaylie (again played by Stephen Jones and Sarah Morris) in a “homework club” with Mr McCafferty, attempting to engage their attention. When we switch back to Brian and Donna, after Ray exits to get the required paperwork, they discuss what to do with Jayden and show signs of the affection that still inhabits their relationship. When McCafferty returns however, and Jayden’s issue shifts from a learning “difference” to a “difficulty” and even possible dyslexia, and even a potential catalyst for “delinquency”, things start to kick off as his botched attempts to intervene on behalf of another pupil are revealed, the reasons for the break up of Brian and Donna are rehearsed and both men’s tempers spiral out of control.
A couple more plot ratchets and we’re done. Left with the slightly unsatisfactory feeling that writers (and directors) Iseult Golden and David Horan felt compelled to privilege dramatic tension over further character development. I can see why but, given the quality of the dialogue, laced with humour, in the first half, to us it seemed something of a waste. On the other hand it isn’t easy to see where they might have otherwise gone with the story and the fear of “fizzle out” is understandably. deeply ingrained in the creative writing psyche. Given successful runs in Dublin, Galway and Edinburgh, it is perhaps unsurprising that cast and direction is so accomplished and Maree Kearns set and costume design will be familiar to any parent and teacher either side of the Irish Sea. (The Tourist’s ample behind would often inadvertently take a tiny chair with it after parent teacher meetings at the local primary).