Coronet theatre, London
There’s an intriguing story about sibling betrayal buried among the distracting subplots in Robert Holman’s play
Robert Holman’s play contains some great riches. A story of sisters and midlife reckonings, it puts two older women centre stage and comes with a seismic sibling betrayal. The Lodger is also the story of good and bad mothers, how the young relate to the old, and how the old nurture the young. Directed by Geraldine Alexander, it takes wildly unexpected turns and is stuffed full of wise statements about life, love and death. It does not feel like a single play and herein lies the problem: too many stories and ideas jostle for focus.
It begins with a bristling reunion as Dolly (Sylvestra Le Touzel) arrives in London from Harrogate to visit her sister Esther (Penny Downie), a successful novelist, following their mother’s death. There are revelations, fights and forgiveness, alongside a parallel storyline of Esther’s young lodger, Jude (Matthew Tennyson), who has suffered maternal abuse and for whom Esther is a substitute mother of sorts. A subplot about Jude’s once-famous musician grandfather takes us away to Norway where a love story develops between Jude and Anila (Iniki Mariano), a maths student he meets on a park bench, and who turns out to be his cousin. This romance, unconvincing in both its beginning and its ending, seems like a distraction from the greater intrigue around the sisters and Jude’s relationship with Esther – their affection remains vague and underexplored.