A vivid reflection of the emotional struggles of parenthood
No one can teach you how to be a parent, and no one can warn you exactly how bringing a child into the world can affect the relationships that you already have. Ash (Ifran Shamji) and Anya (Eileen O’Higgins) are full of love for their newborn son, but as time passes Ash struggles to figure out where he fits. Sleepless nights and misunderstandings lead to rows and fractures in Ash and Anya’s marriage and his relationship with his mother (Lucy Black) in this new play written and directed by Bijan Sheibani.
Set design by Samal Blak is simple yet effective: a raised carpeted square platform in the centre of the room. Oliver Fenwick’s lighting design defines the atmosphere, a stark clinical bright white emanating from a glowing square directly above the stage, which darkens in troubled scenes. The performance takes place in the round, an interesting choice which allows the actors to exercise more flexibility with their action on stage, but detracts from the intimacy of the space as you can clearly see every face in the audience across from you.
One chair is set at each of the four corners of the stage, three are claimed by the actors, and one by lone-cellist Colin Alexander. Alexander’s musical accompaniment permeates the room, the music is poignant, and perfectly underscores the drama. Costume design, also by Blak, is simple and unfussy. Actors take to the stage barefoot, softened by the carpet. There are no props as the action relies on mime. The physicality of these mimed details is excellent, from O’Higgins cradling and breastfeeding the baby, to Black’s knitting (the best mime knitting I’ve seen, in all honesty). Beyond mime, the movement is expressive, Shamji twists in on himself in emotional turmoil, lying in a foetal position which reflects his child-like needs, and Black’s detail in the physical pains her character experiences is vivid.
The writing is natural, realistic, reflective of real-life conversations. Irfan begins as a gentle, curious presence, his tension builds as dark intrusive feelings attack his self worth and he distances himself from his wife to protect his inner child – any therapist would have a field day with this character. The women in the play are forces to be reckoned with. Anya is rooted in her motherhood, defensive, protective, yet O’Higgins portrays her with a palpable vulnerability, a new mother who needs the support from her distant partner. Ash’s mother Jane (Black) grapples with her desire to be a present grandparent while respecting the family’s space. Memories of her own experiences with post-natal depression resurface and become a source of pain for both her and her son. This early relationship between Jane and Ash was an interesting device, but perhaps could have used some more exploration to deepen the relationship between the characters.
While all three actors had clear relationships the tension at times felt contained, arguments never seemed to reach the full height. People under such emotional strain are surely more impulsive, but the true hurt that someone can inflict on their loved ones in crisis was lacking. The Cord is an interesting and valuable insight into the mental health of a struggling father, though I do feel that a little more time on the female characters in this show could have really added depth to the relationships portrayed.
The Cord is an honest portrayal of the challenges a family can face as they welcome a new child to the world. The play runs at Bush Theatre until 25th May. It’s nice and compact at just 80 minutes, and well worth a watch.