On paper, this looked so good I booked it twice.
Well, in truth, what happened was, this production was tagged on to the end of an almost year-long season booking list almost a year ago, then was re-promoted a few months ago and I didn’t realise that I had already booked it. The Royal Court very kindly took the second set of tickets back; they seem to treat the term “Friend Of” as a reciprocal thing more than most theatres these days – respect.
Anyway, I really liked the look of this production and was in a very good mood for some more drama, as if the thrill of Middlesex’s last day/last hour triumph in the County Championship the day before had not been enough drama for the next year or so.
Truth is, this play/production did not really float my boat; nor did it float Janie’s. The subject matter should have kept us rapt and engaged; a young woman confronting her family with complicity in the racial and sexual abuse she suffered as a child and youngster, especially at the hands of her step-father.
Yet it all came across as a rather shouty, soap-opera style drama workshop exercise; the latter part of which description is presumably where this play and production started its life. Fine actors, but somewhat untrammelled in/by this play/production.
Here is the Royal Court stub for Torn.
It seems to have had terrific reviews, so I guess the problem is us, not the play/production. Half-a dozen rave reviews linked on the fourth tab of the above stub so no need for me to repeat them here. Of the usual suspects, only Chris Bennion of the Telegraph seems less sure and even then thinks the piece worthwhile for “what it has to say”.
I believe the run is sold out in any case, but perhaps it will get an extension or a transfer given the rave reviews.
For us, I’m mighty glad that we don’t have to see it twice.
We indulged ourselves with Mohsen’s Persian food after the play, which made us feel that the evening was most worthwhile, despite the play.