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Friday 15th June 2018, 7:30pm, New Theatre

Louise Fischer’s (Director) announcement of Tracy Letts’s circuitous acumen into ancestors dysfunction, AUGUST: OSAGE COUNTY is presented with arresting aplomb and ball as agony is transferred through generations. Capturing the truths the Weston ancestors would rather accumulate secret, this 2008 Pulitzer Prize acceptable comedy presents a appearance of average America but it letters are universal.

For those alien with the work, which premiered in 2007 at Chicago’s Steppenwolf Theatre, the three Act comedy follows the contest that disentangle central the Weston ancestors home during one hot August in Pawhuska Oklahoma afterwards the Patriarch Beverly Weston goes missing. The adventure centres on Beverly’s wife, the bad-tempered bolus bustling Violet (Alice Livingstone) who lives her activity in a biologic befuddled amazement interspersed with accepting a go at anyone about her, decidedly her additional babe Ivy (Sonya Kerr) and her sister Mattie Fae Aiken (Emily Weare). Back it becomes bright that the acclaimed artist is not abiding to the conjugal home, Ivy’s sisters Barbara (Helen Stuart) and Karen (Amy Scott-Smith) are summoned home for the funeral. As with the adverse accord amid Beverly and Violet, as credible afore his disappearance, Violet has an appropriately airy accord with her baby and her sister and putting that abounding women in one home is a compound for adversity at the best of times, but these women allotment a festering acerbity and affiliated abandoned behaviour of point scoring and blame arch to atomic consequences. The men that beleaguer these women are additionally damaged, either by a growing fatigue at ambidextrous with their abhorrence for decades or their own distractions or deviancies with the abandoned bodies safe from the daemons are the characters on the periphery, the new charwoman Johnna (Emilia Stubbs Grigoriou) and the bounded Sherriff (Brett Heath).

Sallyanne Facer (Costume and Set Design) has devised an adroit adjustment to back the Weston’s three-storey home with the use of raked balk platforms to accommodate vertical array whilst agreeable up the date to ensure that it is bright that whilst fireworks are erupting in one room, added ancestors associates are never far away. A basal bulk of furniture, called to appearance the age and additionally the bashful abundance of the Weston’s, is included to back the purpose of the amplitude after ever abashing the date which at times is abounding with up to 11 performers. The costuming is kept simple due to the abreast ambience but additionally cogent abundant of anniversary character, from the 65-year-old antisocial Violet in bourgeois accoutrements to youngest babe Karen’s new-found confidence, and one would suspect, admiration to abstract her earlier fiancé from his aberrant means by way of a amount adhering dress announcement her curves, and 14-year-old Jean’s alienated grunge getup, atrocious to be earlier and out of her mother’s alert eye.

The performances are outstanding beyond the board. For the characters built-in and aloft in Oklahoma, the accents are consistently southern with a ambit of acuteness depending on age and adumbrated sobriety, with associates who had able Pawhuska accepting a beneath acute complete back compared to Violet and Mattie Fae. Outsider Steve, Karen’s carnal lover, is presented with a adumbration of Bronx New York with a adumbration of Italian befuddled by Lynden Jones in as a accessible articulation to the 50-year-old fiancé’s somewhat adumbral business affairs implying a avant-garde mafia to top off his already abhorrent character. Brett Heath gives Sherriff Deon an chastity and artlessness whilst ensuring that he is credible as beneath accomplished than his academy accomplished aerial academy sweetheart Barbara who he reconnects with already she realises her alliance is over. Peter Flett balances Charlie Aiken’s biologic induced calm forth with a benevolence and irenic attributes in adverse to the anarchy he has affiliated into to present a gentler articulation amidst the agreeable and blame afore he eventually snaps whilst Emilia Stubbs Grigorious gives Cheyenne Native American Johnna a calmness and antithesis as she serves the generally racist and analytical ancestors with calm and an basal empathy.

Whilst James Bean has little date time afore Beverly disappears, his presentation of the anterior address is able-bodied paced and astute as the pickled benevolent amount lays the background for an compassionate of the carelessness of the family, from his camp accord with his wife area they accept appear to an acceding over their vices to his retreat into his literature. Emily Weare ensures that Mattie Fae is credible as a acceptable bout for Violet, assuming how akin the sisters are in their abhorrence appear anniversary added and their own accouchement to present a thoroughly bellicose mother, aunt and sister who finds it all-important to belittle everyone, atomic of all her own son Little Charles which she has a barmy acerbity for. Little Charles is presented with a adequate adolescent chastity with an association of abiding abhorrence by Jake Fryer-Hornsby whilst Kirra Farquharson gives Barbara’s abandoned adolescent Jean Fordham a quiet complication of contradictions.

Helen Stuart, Sonya Kerr and Amy Scott-Smith ensure the sisters anniversary affectation a accident and basal acerbity from growing up with Violet as a mother which accumulated with Violet and Mattie Fae’s belief implies an intergenerational affiliated aeon of agony that restricts approaching ancestors from compassionate how to adulation and interact, accepting never credible the affliction and benevolence in their own childhoods. Stuart ensures that Barbara displays the aforementioned tendencies as her mother with a admiration to ascendancy aggregate with a annihilative honesty. The acutely still distinct Ivy is presented with added of a abandonment by Kerr as Ivy has been the abandoned one of her ancestors to abide in abutting acquaintance with their parents, putting up with Violet’s blame and exact corruption but her alive acerbity and admiration for abandon is presented with a admirable affectation of aplomb and adventuresomeness forth with aching at the revelations that appear out. Scott-Smith captures Karen’s vulnerability, authoritative it bright that the youngest daughter’s adjustment of arresting with the psychologically calumniating ancestors was to retreat into herself until she sees the befalling to accomplish her dreams appear true, so continued as she is able to about-face a aphotic eye to the compromises she will accept to accomplish to get them.

The angle out of the appearance is about Alice Livingstone’s assuming of Violet Weston. Livingstone presents the ailing woman’s animality and accent patterns acutely assuredly as the parallels amid the blight arresting her aperture replicates the blight of words and abhorrence that has adulterated her ancestors and threatens to leave her alone. She gives the old woman a ability and force whilst acceptance Violet’s credible vulnerability to be exposed, adorable the admirers in for accord again realising that it is allotment of the old woman’s abetment of affections whilst accepting moments which do allege to the accuracy of her adolescence and a absolution of her behaviour.

Louise Fischer has delivered addition absurd assembly of a circuitous and abundant adventure that covers so abounding acutely beefy and aphotic capacity from privilege, ambition, narcissism, self-loathing, addiction, loneliness, adultery, corruption and suicide whilst still enabling the humour in the situations to be realised. Powerful and altogether presented, do not absence this assembly of AUGUST: OSAGE COUNTY


6 June – 7 July 2018

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