Review: HYEM (YEM, HJEM, HOME), Theatre503

Mick and Sylv's (Patrick Driver and Charlie Hardwick) home is a safe haven for some of the teenagers living in a small town in Northumberland. Dummey (Ryan Nolan), Laura (Aimee Kelly), and Shelley (Sarah Balfour) are all there for different reasons, united in the love the two adults give them. However, the dark shadow of a past looms over the house, as Dean (Joe Blakemore) - an older guest of Mick and Sylv's - becomes a threat.

Hyem (yem, hjem, home) is a piece with a hidden nature, layered with meaning and food for thought. It's the debut play from actor Philip Correia, and is set to transfer Northern Stage in Newcastle after its London run.

As directed by Jonny Kelly, it has a warm and cosy feeling until the outside elements starts crashing inside and singular details start to make us suspicious. While at first it seems like a soon-forgotten coincidence that Dummey looks like Michael (Mick's son), Dean is quick to point out how the special treatment the young boy gets is the same Michael used to get. His continuous hints that people talk and don't like what they see is a catalyst for the destruction of their internal ties.

For Dummey, Laura, and Shelley the house is the only refuge they have. Neglected by their parents for disparate reasons, they find love and shelter at Mich and Sylv's, who let them have fun in what looks like a safe environment.

The audience believes it, the characters believe it too, but once Dean plants the seed of doubt it's easy to see what one wants to see. Mick's odd behaviour towards Dummey is maybe too loving and physical, with Sylv turning a blind eye to what happens behind closed doors.

Correia's script is convincing, with each of the teenagers given their own attitude, sprinkled with the doubt that comes with growing up in an unsure world and craving belonging to something (and someone). They rarely talk about outside, the subject almost banished from their chats.

But secretly, it's Sylv who worries about what is going on. She asks the kids not to reveal that they come here, and she gives them rules on what to say and when to go round, all because of the suspicions that mar her marriage to Mick.

Driver and Hardwick are a beauty as the couple: still in love with each other and not afraid to show it even after years and experiences have piled up in their lives. Hardwick's Sylv is sarcastic and dry when her character feels in charge, but as soon as her defences falter, she becomes vulnerable and doubting, the fear of losing everything hovering above her. As Mick, Driver is energetic and seemingly non-stop; a father figure to the young adults in the play, it is easy to understand why they love being in his and Sylv's presence.

The youngest cast is a buzz of talent. Nolan, Balfour, and Kelly are as different in performance as their characters are in essence. Nolan's subdued and calm attitude mirrors Kelly's bubbly personality perfectly, and both stand under Balfour's curious and sprightly wing.

Balfour's character has been going round the house the longest, so Sylv's implication that she is the only one who really needs it ("Your parents hate you") places her on a different level than the other two - whose presence in the house is always a step away from expulsion (especially Dummey).

Joe Blakemore remains a mystery until the near end, just like his character. His contribution to the piece, initially limited, makes it turn on its head and opens it up to show all the layers of Correia's writing. A character that could easily come off as stagnant and tiresome becomes interesting and magnetic with Blakemore.

Kelly is subtle in his direction, giving the actors space to tell the story. A mention of honour goes to Peter Harrison and Richard Bell, whose respective lighting elements and rock music change the vibe of the small small, especially as the drama heightens.

The set design doesn't leave anything to the imagination, as Jasmise Swan crowds the stage with knick-knacks, but even this element makes sense in the grand scheme of the show.

A brilliant exploration of how public opinion and rumours lead to an easy path of grief, guilt and delusion, Correia's piece challenges morality and leaves his audiences questioning.

HYEM (yem, hjem, home) runs at Theatre503 until 23 September.

Photo credit: Nick Rutter.

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