Review: EVERYTHING BETWEEN US, Finborough Theatre

In a captivating UK premiere, Sandra is preparing to take her seat on the first day of the Truth and Reconcilliation Commission for Northern Ireland at Stormont, when her estranged sister Teeni bursts in on a wave of racist and expletive-ridden anger. Everything Between Us is David Ireland's award-winning play, which follows the sisters for the next 70 minutes, as they wrestle with their own relationship, a brutal history of political violence and the seeming impossibility of resolution.

Written from the perspective of a Northern Irish Protestant perspective, conflict is the predominant theme and, at first, seems to focus on religion and politics, but quickly reveals itself to inextricably linked to conflict between the sisters. After an 11 year separation, Teeni remains immovable in her hatred towards 'Finians' and cannot rationalise Sandra's involvement in any type of forgiveness and reconciliation.

Katrina McKeever is electrifying as younger sister Teeni; the anger and rage radiates from her as she rampages round the room with uncontrollable violent aggression. Her quieter moments are equally impressive, particularly her confession about the shocking events that led her to admit she needed help with her drinking.

Lynsey-Anne Moffat shows both strength and immense vulnerability as Sandra. She is the quieter, weaker character and the audience cannot help but wonder how this timid woman might be able to negotiate the forces of the Northern Ireland peace process. Ireland resists the absolute polarisation of Teeni as the bad sister and Sandra as the good one, as he reveals some of Sandra's personal demons as well.

McKeever is such a force that she dominates as a completely unlikable and truly damaged woman, but both actors maintain rapt attention from the audience throughout.

David Ireland's writing is uncensored, brutal and often uncomfortable to watch. This rapid-fire 70 minute play covers a wide range of topics, from exploring the childhood of the sisters, to the causes of Teeni's absence though to religion and politics. There are also very clever additions of darkly comic diversions such as Teeni's discovery that Nelson Mandela is dead. This adds not only necessary dark humour, but reinforces the natural rhythm of the conversation. It ebbs and flows beautifully.

Neil Bull's deft direction compliments this rhythm and feels entirely natural. The women circle each other and the room, using every angle so that the audience feels almost voyeuristic in the tiny space of the Finborough Theatre.

The play is another visceral and taut portrayal of the impact of years of hatred and violence after Ireland's shocking play Cyprus Avenue, shown at the Royal Court last year. His liberal use of sectarian language paints a very vivid picture of The Troubles from the perspective of a Unionist family. What is interesting is the gradual revelation that both sisters come from the same perspective: an Ulster Defense Association father who was jailed for murdering Catholics, who was in turn killed by the IRA. Sandra has turned towards the need for peace, whereas Teeni still spits with rage. The play avoids a glib and neat conclusion, which maintains the impact and reality of the play.

Everything Between Us is a deeply troubling and raw production, with superb performances that will stay with you for some time afterwards.

Everything Between Us is at Finborough Theatre until 16 May

Photo Credit: Tristram Kenton

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