If you attend one family wedding this summer, make it Beth Steel’s rich, raucous bash, in Till The Stars Come Down – says Georgina Brown

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Till The Stars Come Down (Theatre Royal, Haymarket)

Verdict: Putting the raw into raucous

I stand beneath the sparkling mirror ball above the stage, feeling the pulsating rhythm of the party. Surrounding me is an encircled arena, tension in the air. A guest quips, ‘A wedding without a bit of drama?’ And indeed, as Beth Steel’s captivating play unfolds, chaos ensues, filling the room with raw emotion and unbridled passion.

The title of the play is reminiscent of W.H. Auden’s poem “Death’s Echo,” as another line from the poem encapsulates its themes: “The yearnings of the heart are as twisted as a corkscrew.

Maggie, one of the adult sisters, is filled with such joy that she exclaims she could burst with sparkles!” as they prepare for their sister Sylvia’s wedding to Marek from Poland.

They discuss various topics such as bathroom habits, sexual activities, hot tub usage, and the choice to remove or grow body hair, which often leads to laughter. Emotions are kept hidden and private.

In contrast to typical West End settings, it’s uncommon to find a play being staged in working-class, post-industrial regions like Nottinghamshire. Yet, this might be the inaugural occasion where an actress on the Theatre Royal stage removes her uncomfortable, garish bodycon dress and tight Spanx, tossing them into the audience seating area.

In Steel’s intricately crafted stories, each character carries a hidden sorrow. Sinead Matthews’ fiancée is contemplative and wistful, lost in memories of the past. During the Eighties, Sylvia’s father, who used to work in the mines, chose to cross the picket line, igniting a long-lasting family feud with his brother that supported the strike.

Marek, who initially came to the UK with only a small amount of money, is now extending job opportunities to local residents who have been made redundant but are reluctant to accept them.

Maggie left the town suddenly, without explanation.

Besides Auntie Carol (portrayed by Dorothy Atkinson in Call The Midwife and The Gold), who was the dearest friend of their late mother and known for her frank, uncensored opinions on all matters, shows a compassionate and empathetic side, as a person with a tender heart.

In Bijan Sheibani’s exceptionally well-acted production, initially designed for a round setup at the National Theatre, the stage layout at the Theatre Royal seems restrictive until the second half when characters are intoxicated and uninhibited. This is when emotions like resentment, rivalries, bitterness, prejudice, and frustration burst forth in a torrential outpouring. It’s strongly suggested that you see it.

Until September 27 (trh.co.uk).

GEORGINA BROWN

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2025-07-10 21:21