Review: THE SILVER CORD, Finborough Theatre

The Silver Cord is the first London production since 1927 of this Sidney Howard drama about a possessive mother and her destructive relationship with her two sons. At almost three hours running time, the production is almost as long as Howard's best known work, Gone with the Wind, and is similarly very much of its time.

In 1925 Boston, we meet Mrs Phelps, waiting for her favoured, eldest son David to return home after two years away with his new wife Christina. With her is Robert, her younger son who faithfully remained by her side, along with his ebullient fiancée Hester. It quickly becomes clear that Mrs Phelps has an unhealthy obsession with both her sons and is willing to do whatever it takes to have them all to herself once more.

The bond between a mother, sons and indeed daughter-in-laws is ripe for both satire and deep exploration. There is a sharply observed and darkly comedic play inside this production, but it is stymied by overlong, melodramatic monologues and meandering subjects. At least an hour could be cut from the show without compromising on the murkiest and most disquieting points of the drama. Dramatic tension is deflated by whimsy and repetition. A late revelation about a character's health could have been the gut punch of the play, but is quietly forgotten.

It is a shame, as there are some very fine performances here. Sophie Ward's Mrs Phelps is a masterclass in passive aggressive narcissism. Howard's script gives us a glimpse of the reasoning behind her behaviour; her older husband showed her no love in their short marriage and social expectations led her to have nothing more to concentrate upon but her sons after he died. However, we do not get much deeper than the trope of the controlling mother, despite Ward's efforts.

Ward manipulates her sons with skill: there are knowing chuckles from the audience as she seamlessly persuades each son in turn that they alone are their mother's son. Ward's calm façade hides a pinched and unhappy woman, desperate to hold onto her sons at all costs.

George Watkins is genial as the weak and easily swayed David, the son who must chose between his wife and freedom or his mother and lifelong servitude to her whims. 

He has nice chemistry with Alix Dunmore, who is engaging and clear-headed as David's new wife Christina. A research biologist who has no intention on giving up work now she is married, she quickly throws off the veil of politeness when she realises the extent of her new mother-in-law's manipulations. However, her character's third act diatribe towards Mrs Phelps (however justified) feels unrealistically brutal and long-winded for someone who has only known the character for a matter of hours. 

Jemma Carlton's Hester is wide-eyed and jolly, a rather vacuous and simple character. That she has had a variety of past lovers seems to be the most interesting thing about her. It is clear she has known Mrs Phelps for some time and tolerates her behaviour, in spite of much eye-rolling.

Dario Coates has the most complexity in his character as Robert; molly-coddled and directionless so as to know no other life except that beneath his mother's suffocating wing. Coates gets under the skin of a man who has little depth himself, happy to be pushed wherever his mother desires, without question. It is a sad portrayal of an empty and cowardly little man.

The production looks great. Set designer Alex Marker has transformed the tiny space of the theatre into an elegant home, complete with dark blue walls, gilded portraits of various loving mothers and children (a nice nod to the story) and a clever sash window that transforms into a pull-down Murphy bed. Carla Joy Evans' period costumes are also a drop-waisted delight.

Director Joe Harmston keeps the characters moving, but the decision to have the production set in the round means that audience sight lines are often compromised for prolonged periods. Despite all efforts, the script often makes the pace sag.

The premise of the story is intriguingly strong and had the script been judiciously edited, it might have given the actors the production they deserve. Unfortunately, as it stands, it lets a strong cast down.

The Silver Cord is at the Finborough Theatre until 28 September

Photo Credits: Carla Evans

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