The Father | PIP Theatre
“I feel as if I’m losing all my leaves.” Andre (Tony Nixon)
Note that this review contains some spoilers for ‘The Father’. The section with spoilers will be highlighted for those who want to see the show fresh.
When I watched the movie Still Alice, I left the cinema a blubbering mess. So when the opportunity to review PIP Theatre’s latest production The Father came up, I hesitated - I was afraid it would trigger me - an emotional reminder of my personal experience with my very own father.
My love for the theatre won me over and I relented.
All images: Images by Anderson
From the very first time Andre (Tony Nixon) enters the stage dressed in a smart green jumper and matching pants, and then sits forlornly in one of the vintage chairs that make up the chic set design, I am transfixed. I watched with awe as Nixon’s Andre embodied a man grappling with the downward spiral of oblivion brought about by the insidious condition of dementia.
I am inexplicably drawn into a rollercoaster journey of what’s real only to discover that it’s not. Where the pain of losing one’s self is imminent, but uncontrollable as this cruel condition takes a hold of Andre’s mind like a set of steel calipers that refuses to budge, squeezing the very last vestiges of his memory into oblivion. His mood swings and fits of temper were painful to watch as he grappled with the present. Or is it the past? Andre is confused. Feels helpless. His hopelessness is palpable. His turmoil is frightening.
But what of his children? Anne (Janelle Bailey) is Andre’s primary carer. Although sympathetic to her father’s situation, she admits she can no longer cope with his constant memory lapses, and is unable to care for him the way she thinks fit. Besides, she's moving to London to be with Pierre (Reagan Warner), her new love interest. Enter Laura (Jade Moon) who is tasked with caring for Andre in Anne’s absence. Andre is assured that his health and wellbeing is at the very core of her decision. But Andre’s not convinced. In spite of his addled brain, he still manages to find the courage to express his distaste and questions Anne’s decision for choosing to abandon him. Her father.
All images: Images by Anderson
In this intimate space, Andre’s desperation at trying to restore the pieces of the puzzle that has become his fragmented mind is pitiful to witness. His dismissiveness and verbal diatribes are courageous efforts in trying to mend his former self. As is the grief his daughter feels for that beloved someone who is still alive but is withering away before her very eyes as she stands by, hopelessly grappling for solutions. At this stage, my emotions are all over the place. One tissue is not enough.
Tony Nixon’s on stage persona as Andre is flawless - he realistically embodies the role of a person with dementia who is convincing in his struggles to understand the rapid decline of his mind and wellbeing. His physical stance, range of facial expressions, rare lucent moments versus ever increasing memory loss coupled with uncontrollable nervous tics signify the transformational changes and damage of dementia. Moreover the debilitating effects and immeasurable toll it takes on family members are evocatively conveyed through Janelle Bailey’s performance as Anne.
Florian Zeller’s (translation by Christopher Hampton) thought-provoking, visceral script is brought to life onstage under the keen eye of accomplished director Angela Witcher. Kudos to Angela whose bold and enlightened directorial approach holds space for this distasteful subject. The superb cast embraced their respective roles with vigour and played their characters to the hilt with a special mention for their onstage dynamic characterisation. Nothing but praise for the cast’s overall stellar performance.
In line with the above, the violent nature of this incurable condition is played out in a scene that rocked me to the very core. Similarly the clinical nature of aged care homes and the lack of empathy was not lost on this lover of theatre. A reminder yet again of the way theatre can mesmerise and take you on a journey like no other.
All images: Images by Anderson
The set design in The Father plays a profound role in how the story unfolds. At the beginning of the play, the apartment is tastefully decorated with chic pieces of furniture, paintings, family memorabilia and plush furnishings. As Andre’s dementia spirals out of control, the set changes accordingly, losing its overall cheery appeal until it ends up as being a stark, colourless room containing just a lone bed and chair. Set designers Angela Witcher and Ava Moschetti must be applauded for choosing this approach as the set changes wonderfully do justice to Andre’s transformative and bewildering journey with dementia.
*Spoiler Alert*
The scene that will continue to haunt me is Andre’s reversion to childhood. In a room, a lone bed awaits. Wearing overly large striped pajamas and a pair of slippers, Andre presents as being very distraught. For comfort, he tightly clutches a teddy bear as he rocks himself and cries uncontrollably, and then… he calls out for his mummy to take him home. Cue tissues. A whole box!
Getting old sucks.
Getting old AND having dementia sucks even more!
‘The Father’ by PIP Theatre plays until 24 June 2023 at the PIP Theatre space in Milton. Side note : PIP Theatre is a gem! Nestled amongst a row of shops on Milton Road, it welcomes patrons with its impressive range of vintage furniture, accessibility, a lovely, bright outside terrace area filled with plants, and an intimate performance space.
