A Play Within A Play, Within A Dying Moment: ‘Dead Mom Play’ at Unity Theatre
Dead Mom Play, at Liverpool’s Unity Theatre, dared to confront the raw, uncomfortable edges of grief and artistic creation, and did so with a surprising blend of dark humour and theatrical self-awareness. What initially seemed a straightforward narrative of a young playwright facing his mother’s impending death quickly unfurled into a meta- theatrical exploration of the very act of storytelling and creative performance.
The premise, a young playwright grappling with his dying mother and the intrusive presence of Death, was merely the launching pad. The true engine of the play was the interplay between the fictional narrative and the actors’ candid reflections on the process of bringing it to life. This Saturday night, the audience was not merely passive observers, but complicit participants in this fascinating experiment.
The cast delivered exceptional performances, this being the perfect setting to display their acting chops. Hannah Harquart, as Charlie’s mother, imbued her character with a poignant blend of vulnerability and acerbic wit, perfectly capturing the seasoned actor facing her final curtain call.
Joe Bellis, as Death, delivered a masterclass in comic timing, his physical presence and delivery adding a delightful layer of absurdity to the otherwise sombre proceedings. Griffin Bellah, as Charlie, was the play’s anchor, navigating the character’s complex emotional landscape with remarkable poise. His delivery of the substantial monologues was flawless, conveying Charlie’s self-absorbed arrogance with an almost unsettling authenticity. While his mother battled cancer, Bellah‘s portrayal made it clear that Charlie’s personality alone could induce a different kind of suffering…
The episodic breaking of the fourth wall, where actors directly addressed the audience, fostered a sense of intimacy, immediacy and unsettlement. This, coupled with moments of physical comedy, kept the play engaging and unpredictable. Jesse Brigham’s lighting design was a crucial element, effectively enhancing the atmosphere and highlighting key emotional shifts.
Dead Mom Play resonated most deeply with those familiar with the creative process. The actors’ laments about part sizes, the playwright’s anxieties about the writing process, and the blurring of reality and performance all felt deeply authentic. It echoed the thematic complexity of Tom Stoppard’s The Real Thing, exploring the elusive nature of truth and the power of theatrical illusion.
This production is a bold and thought-provoking exploration of grief, creativity, and the very nature of theatre itself. With its sharp writing, strong performances, and sympathetic staging, Dead Mom Play deserves a wider audience. One hopes that with the blessings of Saint Genesius, the patron saint of the theatre, this unique theatrical piece will find the recognition it warrants.
Lasagne will never taste the same again.
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