A dynamic exploration of grief that packs an emotional punch.
‘Funeral Sandwiches’ is simultaneously rich enough that you are surprised it is only an hour long, yet so economical and well paced that the running time felt just right. This punchy inaugural work by Wrong’Un Theatre filled Drayton Arms Theatre with nostalgia, joy and a nuanced understanding of family dynamics. As you go along with the protagonist on her journey, you are extended a warm hand to join the Murphy family for an evening of fond laughter and emotional highs and lows.
The play follows Sinéad, an Irish university student who narrates the day of her uncle’s funeral, and the feelings and memories the day brings. The action takes place as the day unfolds, and secrets are revealed. Frances Moore Fahey’s script was witty, observational and often profound, and had a way of making light of the heaviness of grief. This was achieved through several moments of thoughtful pause which were often followed by gags and explorations of the funny family dynamics which punctuated the show. As much as I sometimes hoped that these profound moments lasted a little longer, the humour disarmed the audience and helped us access the depth of the subject matter, the balance struck well by Max Griggs’ direction.
Grace Cunningham as Sinéad stunned as a solo performer. She performed with high, sustained energy and engaged the audience with a rich landscape of characters. With remarkable voice work, especially difficult as she was not able to rely on completely different accents to distinguish between her characters, and an impressive range of physical mannerisms, she provided a menu of eccentricity that delighted when new people were introduced. This was both the play’s merit and peril – the range of dynamics explored sometimes distracted from her relationship with her late uncle, with his character only coming out towards the end of the show. This seemed like a missed opportunity to engage with the subject of Sinéad’s grief, although her repression of her grief could be an explanation for her uncle’s absence .
Other elements of theatrecraft added meaningfully to the landscape, and the use of multimedia and projection provided a very personal dimension to the play, thanks to George McBurney’s video design. Ania Levy’s set was effective, one of the play’s central traditions dramatised and spilling out into the hallway to immerse the audience in the space and time. Melody Mengyun Liu’s lighting design was often symbolic and impactful, helping ground us in different emotional states.
‘Funeral Sandwiches’ is an authentic and engaging show that charmed with its relatability and universality. Although it could have tackled the subject of the protagonist’s grief more directly, it was as emotive as it was entertaining and has made me excited to see what Wrong’Un Theatre will do next.