There are two sides to every story.
Grieving the loss of the family shop with their dreams destroyed, Denise
and daughter-in-law Carly and left to pick up the pieces of their relatives’
mistakes.
Sharon Duncan-Brewster and Erin Doherty play Denise and Carly in this
thought-provoking drama that exp
It is fascinating to watch Carly and Denise mark out their respective territory in opposing diagonal corners of the stage, as if they are boxers preparing for a fight. In myriad ways they are precisely this, as they gradually recount their own versions of events of business disaster. This is a frustratingly centrifugal narrative, with long digressions into past events of often dubious relevance; the protracted account of a fraught family viewing of the King’s coronation left me twitching in frustration. What, we long to know, sounded the death knell for the shared space that housed Carly’s flower shop and Denise’s West Indian café?
It only premiered last October, but Death of England: Closing Time, the final chapter in Roy Williams and Clint Dyer’s state of the nation triptych, not only retains its spine-frosting freshness, but feels more dangerous than ever. Not just because it dives headfirst into the socio-political quagmire of race and identity in 21st Century Britain when the very same dynamics disentangled on stage fuelled violent riots on streets across the country. But because it dares to argue that love shines through storm clouds of hatred.
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