A powerfully expressive examination of what it means to belong in a rich family
After their grandfather falls ill and their parents decide to stay with him in hospital, half-siblings Josh and Keira are stranded together on a ‘family holiday’. Deciding to make the best of it, they reconnect over the course of a few too many drinks over lunch, and then even more back at the hotel. Inevitably, old rivalries and resentments, forged amidst the pressure of growing up in the shadow of a wealthy and successful family, bubble to the surface. The result is a complex tapestry of family, belonging and resentment, taking place against the backdrop of a single night of sibling bonding in Luxembourg.
Whilst Josh and Keira’s father is a Luxembourger citizen “for tax reasons”, the repressed emotions and pent-up anger are 100% British. Their simultaneous love and bitterness are the kind which can only exist between people who have spent most of their lives together. Each sibling cultivates an idealised view of the other’s experiences: in reality, Josh had no real choice about taking over the family business, whilst Keira had equally little say in deciding not to. Josh justifiably feels trapped and lacking in direction, whilst Keira’s peripheral position has forced her to set off and forge her own path in life. 2.36 is the average household size in the UK, and whilst this is no ordinary family in terms of their wealth, the problems they tackle will be familiar to many.
A particularly compelling scene involves a phone call Keira has with boyfriend Seb, who she thinks she might be in love with. His aggressive approach is written in the complex push-and-pull on Anoushka Cowen’s face, and Elijah Lifton’s portrayal of a brother not wanting to overstep the mark is equally believable. There’s a disarming authenticity to 2.36, as perhaps should be expected of a piece written and performed by two recent drama school graduates, which adds a raw edge to two excellent performances: their fractious sibling dynamic possesses a compelling intensity. Both Keira and Josh are characters you root for, hoping they can work out their issues and find some kind of peace.
This is necessarily a small production – with three other shows using the same space on the same day! – but more could be done to delineate transitions in time and space. Perhaps the deliberate rearrangement of onstage furniture, and more precise sound cues, would provide a clearer sense of where we are and how much time has passed. A painting propped in the corner – factored into the narrative towards the end – seems an obvious candidate. A more confident production would jettison a few underdeveloped plot threads to allow the performances to shine – there’s probably no need for Keira to veer off in search of her birth mother. Nevertheless, it is the acting that stands out in 2.36, as a single day in Luxembourg encompasses a wide range of emotions executed with conviction and empathy.
Fringe theatre thrives on small, intense stories, which is exactly what 2.36 delivers through compelling performances and an authentic narrative. With a little more time, a more deliberate direction, and judicious wielding of the editor’s scissors, these things would shine even more brightly. Nevertheless, Josh and Keira’s relationship anchors the narrative with emotional depth, combining universal struggles with belonging, legacy and togetherness into a searing family drama.
2.36 played at the Etcetera Theatre at 3pm until 3rd August. Tickets can be purchased here.