A complicated mother-daughter dynamic forms the basis for Anna Mackmin’s new play, Backstroke, writes Melina Block.
Wrapped in a shawl and puffing on a cigarette, Celia Imrie plays the carefree yet neurotic Beth who refuses to be called ‘mummy’ by her daughter, Bo (Tamsin Greig), demanding she keeps her own identity, but then follows Bo to university. She spouts hippie ideals around free love and sex, then chastises her daughter for not being thin.
This might sound bleak, but there are plenty of laughs throughout the performance, delivered by both Greig and Imrie with flawless comedic timing. But the looming presence of a hospital bed in the centre of the stage reminds you of the reality; Beth is slowly dying after having suffered a stroke and struggling with dementia. The show opens in this hospital, before switching between a series of flashbacks throughout Beth and Bo’s life, and the present day.
Imrie’s performance is a genuine highlight, as she seamlessly transfers from a sick, unresponsive patient to the vibrant, eccentric personality that she previously had. Her chemistry with Greig is a joy to watch, with the pair bouncing off each other so effortlessly that it is hard to believe they have not actually known and lived with each other for decades.
The video clips which play intermittently give us insight into Bo’s own relationship with her daughter, a young girl she adopted and is clearly struggling with. However, Bo’s relationship with her own mother is far more captivating, and my friend who came to watch Backstroke with me was wholly unconvinced of the necessity of these videos.
By the second half of the play, the tone becomes markedly more sombre. Beth’s condition deteriorates and the pacing slows down, with some scenes which demonstrate the connection and heartache between both the leads feeling slightly too contrived and on the nose. This is only a small complaint, though, noticeable primarily because of how excellent the rest of the show is at subtly communicating the intricacies of Beth and Bo’s loving yet, at times, stifling relationship.
The lady next to me was in tears by the end, and it was easy to understand why. There is such warmth and care injected into both Imrie and Greig’s portrayal of their characters that it is easy to lose yourself in their performances. If the sign of a good actor is that you forget they are reading out scripts, then this is some of the best acting I have seen on stage in a long time.
Donmar Warehouse, 41 Earlham Street, Seven Dials, London WC2H 9LX until April 12th. Mon – Sat 7.30pm;Thursday & Saturday matinees 2.30pm
Box Office: www.donmarwarehouse.com / 020 3282 3808
