Review: THE UNBELIEVERS, Royal Court Theatre

Photo credit: Brinkhoff-Moegenburg

At the Royal Court, Nick Payne’s The Unbelievers explores grief, frustration and the unwavering hope of a mother whose son is missing.

The story is split over three timelines, the immediate aftermath, a year on and seven years from the day Oscar didn’t return home from school. The play’s timeline is not linear, and the piece hops through the family’s emotions as they navigate life after this cataclysmic event, which, understandably, tears through their whole existence.

Nicola Walker as Oscar’s mum, Miriam, embodies grief and rage. We see her unravelling before our eyes as she doggedly follows up on every lead and possible sighting of her son, refusing to engage in any possibility that he may not return. Walker is phenomenal as a mum who whose life stopped the day her son disappeared.

Miriam’s blended family are trying to navigate her emotional vulnerability alongside managing their own grief and pushing on with their lives. It’s a heavy piece with weighty themes, which Walker, alongside a strong ensemble cast, carries well. Miriam’s pain is visceral, and Walker communicates that through every movement, look and word. She is devastatingly convincing as this broken mother who would do anything it takes to find her boy.

Ella Hyland and Alby Baldwin as Oscar’s siblings are very strong and there is a surprisingly large amount of comedy respite in the shape of Harry Kershaw and Lucy Thackeray: despite both not being on stage for long, their comic timing brings some unexpected levity.

Despite a fantastic cast, clever staging, and an emotionally charged theme, unfortunately there is a feeling of disconnection in this piece. In part, this is due to the time-hopping. Whilst this is an interesting way of showcasing the depth and breadth of Miriam’s grief, it means that the audience can’t experience the gradual build up of Miriam’s rage and fear, instead the crescendos appear out of turn which feels less impactful due to the lack of anticipation.

In addition, some of the family narrative feels strained. Whilst the purpose of the story is not to find out what happened to Oscar, it would be useful to know more about him, where he fit into the family and what the familial relationships were like before, to better understand the impact of how things are now. It’s tricky for the audience to feel the loss of something they’ve not yet been shown.

Despite Walker’s stirring performance, The Unbelievers leaves the audience with a feeling that there is something missing, with more depth and impact to be explored.

*** Three stars

Reviewed by: Cara Brazier

The Unbelievers plays at London’s Royal Court Theatre until 29 November, with further info here.