There are two sides to every story.
Grieving the loss of the family shop with their dreams destroyed, Denise
and daughter-in-law Carly and left to pick up the pieces of their relatives’
mistakes.
Sharon Duncan-Brewster and Erin Doherty play Denise and Carly in this
thought-provoking drama that exp
It only premiered last October, but Death of England: Closing Time, the final chapter in Roy Williams and Clint Dyer’s state of the nation triptych, not only retains its spine-frosting freshness, but feels more dangerous than ever. Not just because it dives headfirst into the socio-political quagmire of race and identity in 21st Century Britain when the very same dynamics disentangled on stage fuelled violent riots on streets across the country. But because it dares to argue that love shines through storm clouds of hatred.
Please use the sharing tools found via the share button at the top or side of articles. Copying articles to share with others is a breach of FT.com T&Cs and Copyright Policy. Email licensing@ft.com to buy additional rights. Subscribers may share up to 10 or 20 articles per month using the gift article service. More information can be found at https://www.ft.com/tour. https://www.ft.com/content/1d428e6c-db5d-46c2-8258-70f038868b71 In the previous plays, Thomas Coombes and Paapa Essiedu played brilliantly in the round, spinning and gambolling with manic eye contact to engage the whole audience. Doherty and Duncan-Brewster are no less charismatic and compelling, but the points when the pair turn in and interact are like a vortex, sucking the attention away from the viewer. It doesn’t help that the banter, delivered at volume and high velocity, is sometimes hard to catch. At 100 minutes (no interval) the play could last half as long again if the pair weren’t chatting at warp speed. It’s an extraordinary feat of stamina and agility nonetheless.
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