Exploring the wider implications a conviction has on family and friends, the European premiere of Carey Crim’s family drama focuses on what happens when a high school teacher who’s found guilty of sexual misconduct returns home from prison. 23.5 Hours provides an intimate look into testing relationships and delves into the complexities of collateral damage of past and present actions, trust, and the pursuit of justice. We spoke to director Katharine Farmer.

1. What drew you to direct 23.5 Hours and what aspects of the story do you find most compelling?

What drew me to direct 23.5 Hours was the play’s exploration of how a serious crime reverberates through a family and their community. Carey Crim’s masterful handling of these ripple effects kept me thinking long after reading the play, and I immediately knew that this was an emotionally resonate and thought-provoking story that I wanted to tell.

Carey has brilliantly weaved together the personal and the political, creating an intimate family drama that tackles broader societal issues about the abuse of power by someone in a position of trust, and the consequences his actions have on his wife, son, and friends. The play is such a gift as a director because of Carey’s talent for developing characters who are deeply human, and her ability to build a world with characters that you really care about. When these authentic, loving relationships are then tested under extreme circumstances it gives us so much to dive into in the rehearsal room, allowing us to witness the full spectrum of human reactions in the face of life-altering events.

2. How did you approach the challenge of exploring the complex themes of sexual misconduct and its impact on family and friends in this play?

Approaching such these themes requires a delicate balance of awareness and openheartedness. My process began with extensive preparation, including consulting a psychoanalyst to better understand the psychological realism of Tom’s character, and how his prison sentence may, or may not, have changed him. This groundwork informed many of my directorial choices, allowing me to guide the actors towards nuanced performances and ensures I’m able to present this complex story with sensitivity. 

3. You’ve worked with playwright Carey Crim before on Never Not Once, also at Park Theatre. In a way this follows on, can you talk about the two different takes on the theme? Will audiences get a different experience watching one or both?

While both 23.5 Hours and Never Not Once deal with themes of family, trust, and the aftermath of past actions, they approach these subjects from distinctly different angles.

Never Not Once focused on a family grappling with questions of identity and origins. It explored the impact of uncovering long-held secrets and how this affects one family, particularly in the context of same-sex parenting. The play delved into themes of chosen families, the right to know one’s biological heritage, and the realisation that you are not a product of how you come into the world. Never Not Once tackled themes of sexual assault from the survivor’s perspective, however, ’23.5 Hours’ examines the fallout from a crime of sexual misconduct, centred on how a family copes when one member is accused and convicted. This play tells the story from the perspective of the perpetrator’s wife, who’s left wondering about who the man she married really is.

Each play stands on its own as a powerful exploration of different types of sexual crime, and how it affects everyone in the community.

4. Can you tell us about the casting process for this production and what you were looking for in the actors chosen for these roles?

For this production, we worked with the brilliant casting director Ellie Collyer-Bristow, who helped us assemble a stellar cast. 

Lisa Dwan, known for playing Lizzie in ‘Top Boy’ and her outstanding solo performances of Beckett’s plays, brings both a power and vulnerability to the role of Leigh, which I thought was essential for navigating a play like this.

David Sturzaker, who plays the teacher, whose extensive theatre experience and commanding stage presence provide a solid anchor for the production, and a kind and supportive soul in the room.

Jonathan Nyati, who plays Bruce, brings a genuine warmth to his character, making him a believable and torn best friend.  Allyson Ava Brown, who plays his wife Jayne, embodies the voice of reason. She effectively mirrors the views of the community, grounding the narrative and providing a relatable perspective.

The final cast member is the emerging talent, Jem Matthews, who plays the son of Leigh and Tom. Jem impressed us with his audition by bringing significant depth and insight to his character, which adds a poignant layer to the story.

Overall, the casting process was about finding individuals who could channel these characters without judgement, and bring the script to life with nuance and sensitivity, whilst also being a lovely company of people to work with. I am so excited to work with them all!

5. How do you balance the sensitive nature of the subject matter with the need to engage and move the audience?

Rather than focusing overtly on the crime itself, 23.5 Hours aims to tell the often-overlooked story of its aftermath, exploring the far-reaching ramifications on those connected to the accused. By centring the story on the wife’s perspective, we allow the audience to grapple with the moral dilemmas and emotional turmoil faced by those close who are close to the accused. The audience only ever receive information about Tom’s crime as the characters do, putting us in the same position as the family and friends. This approach invites the audience to sit with the uncertainty alongside our protagonists, grappling with doubt and conflicting loyalties in real-time.

6. What do you hope audiences will get out of the production?

I hope that audiences will have an engaging and thought-provoking experience when they come to see 23.5 Hours. It’s my hope that we can explore the complexities surrounding trust, love, and loyalty for families of convicted sex offenders, sparking meaningful conversations in the bar and on the journey home. By witnessing Leigh’s struggle to navigate her husband’s imprisonment and the subsequent fallout, we want viewers to reflect on the devastating impact of a conviction for sexual misconduct on personal relationships and community dynamics.

I also hope that 23.5 Hours will resonate with audiences on an emotional level, prompting discussions about the nature of justice, the intricacies of human relationships, and how we move forward. By delving into these challenging themes, we aim to put a mirror up to society and tell a captivating and meaningful story with characters that audiences become invested in, that will keep you talking long after the (metaphorical) curtain comes down.

23.5 Hours runs from 4 Sept – 5 October at Park Theatre https://parktheatre.co.uk/event/235-hours/