ANDY HEDGECOCK is entertained by a playful novel that embeds a fictional game at its heart
The Son
Kiln Theatre, London
FOLLOWING on from The Mother and The Father, The Son completes the trilogy of short plays by prizewinning Parisian writer Florian Zeller.
Having taken us into the nightmares of the middle-aged mother, whose life devoted to her son and husband has lost all meaning – the former’s flown the coup and the latter, she believes, is seeking interests elsewhere – and the disintegrating reality of the father slipping into Alzheimer’s, Zeller here explores the dark abyss of the teenager Nicholas drowning in a chronic clinical depression sparked by his parents’ divorce.
To their frustrated bewilderment, Nicholas has changed from a normal boy into an unresponsive and self-harming youth lost in his own misery. When he moves from living with his despairing mother to the home of his lawyer father and his new wife, he proceeds to trash their lives, symbolically depicted in a scene of physical destruction with which “normal” family life struggles to cope.
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
MAYER WAKEFIELD relishes a witty and uplifting rallying cry for unity, which highlights the erasure of queer women
JAN WOOLF finds out where she came from and where she’s going amid Pete Townshend’s tribute to 1970s youth culture
MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play



