A Taste of Honey: an intimate, intense mother-daughter drama
From Salford playwright, Shelagh Delaney, comes an intimate depiction of a mother-daughter relationship and the men who come between.
Whether chasing better opportunities, or running away from a past life, Helen relocates regularly - dragging her daughter Jo along with her. The show opens upon arrival in the pair’s latest digs: a Salford one-bed, with views of the slaughterhouse, and a single, shadeless bulb.
Jo is almost 18, feisty, fiercely independent, and determined not to follow in her mother’s footsteps. But, from time to time, we see a wide-eyed deer in the headlights look that cuts through to her innocent, frail core. Played marvellously by Salford’s own Rowan Robinson, Jo is the exuberant heart of this production. She tirelessly fights for her independence, with a delicate dose of childish naivety.
Robinson spars with her mother Helen, played brilliantly by Jill Halfpenny. Halfpenny’s character is sinisterly charming, despite an incredibly problematic approach to her own past trauma. Almost villainous, and certainly not in line for any motherhood awards, Halfpenny’s Helen is glamorous, glib, and sassy as hell. As an audience, we’re unsure whether to love or hate this central character, but we are enchanted by her nonetheless.
Rowan Robinson & Jill Halfpenny as mother and daughter.
Fast-paced bickering characterises this mother-daughter relationship. Fairly brutal banter seems to be their only means of communicating. The script forces the characters to think and act quickly. Yet it is in silent looks, telling glares, and pregnant silences that the characters gain depth. Despite the play’s role as an enjoyable onslaught of fast-talking, quick-witted dialogue, it’s the moments between the words that brew an atmosphere of intensity.
A Taste of Honey strikes a careful balance between soap opera drama and a surrealist metaphor. Helen’s asides to the audience initiate a sense of theatricality beyond the circular fourth wall. Whilst Nishla Smith, the nameless jazz singer, heightens this sense of the surreal with chillingly beautiful acapella refrains.
The set design, by Peter Butler, offers a similarly juxtaposed composition. At the centre of the iconic theatre in the round is the cramped furniture of the apartment. And a slew of period props keep the actors constantly busy whilst they ruminate on life.
Any outdoor action takes place in a surrounding circle of cobblestones. And, above all of the action, a large steel structure looms: A nod to the fairground rides at the beginning of act two? A depiction of the gas works beyond the window? Or a glimpse of the promised land of honey on the horizon? The design is slightly unclear, but certainly impactful.
David Moorst as Geoffrey, alongside Rowan Robinson’s Jo.
David Moorst joins the cast as Geoffrey in the second act. This loveable best friend earns the most laughs by far, despite having significantly fewer lines than the high tempo female characters. He is supportive and endearing, balanced with cutting sarcastic commentary that Jo clearly respects.
Comparatively, as Peter and Jimmie, Andrew Sheridan and Obadiah are given caricatured bit-parts. They play the unreliable men who are tragically omnipresent in so many stories. Their roles amplify the tension of female leads, as the audience silently scream for Helen and Jo to push back.
Under Emma Baggott’s direction, there is a sense of universality in this production. At times we forget the era and are engrossed in interactions between characters that could just as easily take place today. However, the time period is marked primarily by some incredibly stylish costumes donned by Jill Halfpenny. And the show is distinctly dated in the way it treats themes of homosexuality and race. Amidst an engrossing night at the theatre, these jarring moments are often cut and cauterised by the compelling musical intrusion that haunts you for days after the curtain falls.
A Taste of Honey plays at the Royal Exchange Theatre, Manchester until 13th April. For tickets and more information, visit the RX website.
Or take a look at some of our previous theatre reviews from the Royal Exchange.
Production images by Johan Persson.
