The Children

Theatre, Drama
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  • 4 out of 5 stars
  • 4 out of 5 stars
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 (© Johan Persson)
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© Johan Persson

Francesca Annis (Rose)

 (© Johan Persson)
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© Johan Persson

Deborah Findlay (Hazel)

 (© Johan Persson)
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© Johan Persson

Francesca Annis (Rose)

 (© Johan Persson)
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© Johan Persson

Deborah Findlay (Hazel)

 (© Johan Persson)
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© Johan Persson

Francesca Annis (Rose)

 (© Johan Persson)
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© Johan Persson

Ron Cook (Robin), Deborah Findlay (Hazel), Francesca Annis (Rose)

Two retired scientists have their idyll interrupted by an alarming proposal in this smart new play from Lucy Kirkwood

After storming the West End with her widescreen political thriller ‘Chimerica’, Lucy Kirkwood has made quite the about turn with ‘The Children’, an intimate drama about three old friends teetering on the edge of extinction.

A freak earthquake has damaged a nuclear power station somewhere in the east of England (Sizewell in Suffolk?), leaving the immediate area uninhabitable and the inhabitable surrounds plagued by rolling blackouts. We never see the exact level of destruction, because the play is set in the pleasant kitchen of Hazel (Deborah Findlay) and Robin (Ron Cook), a pair of retired sixtysomething scientists. The power doesn’t come on till 10pm and they’re forced to eat basic foodstuffs, but whether these are nationwide problems or simply because they live in rural isolation near the radiation zone is unclear. 

A big part of the brilliance of Kirkwood’s play is how the nuclear scenario only half matters – it is important for all sorts of reasons, but you’d still have most of the play if it wasn’t there. It is a shadow of the future, but Kirkwood refuses to stray into post-apocalyptic genre territory and shies from bombast even on the big reveal.

‘The Children’ is tantalisingly hard to define: it is about aging and responsibility. It’s about a reckoning, as Hazel and Robin’s old friend Rose (Francesca Annis) shows up unexpectedly and casually drops a horrifying proposal. It is a love triangle. It is a youngish playwright writing inquisitively about her parents’ generation. It is very English, somewhat menacing, and often funny. The play takes its title from Hazel and Robin’s oft-referred to offspring, a constant weight and presence, who never actually appear in the play. And it perhaps also refers more obliquely to its three protagonists, who fall naturally into their youthful patterns – most of the laughs come from the chronically immature Robin, and a blazing argument over the correct use of a toilet.

What the ‘The Children’ is not is a polemic about the oft-cited irresponsibility of babboomers; instead it rather penetratingly asks what they owe younger generations, exactly.

James McDonald’s production is also a fine character piece: Annis’s reserved, sly Rose, Cook’s sometimes excruciatingly unreconstructed Robin and Findlay’s square, sentimental Hazel all spark off each other beautifully, old pals whose relationship remains alive and unstable. And the play itself feels like a nice piece of symmetry for a vintage Royal Court year, which began with McDonald directing a witty story about old people living in a post-disaster world – Caryl Churchill’s magnificent ‘Escaped Alone’ – now ends with one too.

By: Andrzej Lukowski

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Vera S

The Royal Court never disappoints, let me start by saying that.


In fact, it usually out-does itself - you can't really go wrong by booking a play here, which is quite a relief when you try to navigate the ever icnreasing landscape of brilliant London theatre.


Kirkwood's play starts out slow - for about the first five minutes until you get to grips - and then suddenly sucks you in. Immersed in a pleasantly set up kitchen, with lighting that deserves its own review, you are completely lost in the conversation and story, which feels like a pleasant bubble in a mess of post-apocalypse. It looms, but doesn't distract from what's important.


Enough with the fluffy though - to get down to the essential, if you enjoy a somewhat saddish, somewhat disturbing and strange story that somehow still manages to make you laugh several times, this is for you. All set in one room, three actors, a simple storyline. It is simplicity and complexity at the same time, and at its best.


An hour and 50 minutes, no interval - and I wouldn't miss out on having dinner at the bar beforehand, either!

John C
tastemaker

Lucy Kirkwood has written a really interesting play about responsibility, old age & the dangers of living in a nuclear age.

The cast of Ron Cook, Francesca Annis, and Deborah Findlay perform together with great timing, great skill & are a total joy.

Directed by James Macdonald who did such a great job with "Escaped Alone" (also at the Royal Court)  

Carly C

Just five years after the disastrous tsunami and nuclear accidents in Fukushima comes this Anglicised imagining of events by Lucy Kirkwood - the playwright behind the groundbreaking show 'Chimerica'. This new play about two retired scientists who live on the Suffolk coast in a post-disaster society who are visited by an old friend who asks a massive favour. Not only  does 'The Children' ask probing questions about responsibility, maturity and the value of one life over another, but also the values held by Japanese and British cultures.



Francesca Annis gives a commanding performance that holds the show together with Deborah Findlay providing a surprising lightness to the intense character and show. Unfortunately, Ron Cook offers an immature but grave performance that is rife with long awkward pauses, stumbled cues and, on the night I saw it, missed lines. Even with Cook's fumbles, 'The Children' has a constant tension that handles the grave subject matter beautifully.



In addition to the subject of honour and the responsibility of looking after future generations, there is a complex family and friend thread that is unfurled throughout the two-hour show in such detail that you really feel the weight of the favour asked by Francesca Annis's character.



Heavy going but essential watching.