Sam Grabiner’s seasonal offering isn't exactly festive, but it’s nothing less than absorbing and surprising
In a squat in north London, relatives, partners and friends – some Jewish, some not – are gathering for Christmas Day. But will this multigenerational motley crew eat, drink and be merry or will the banter turn to bickering? Regardless of faith, the onstage tensions in this second offering from 30-year-old Sam Grabiner (which follows the Olivier Award-winning Boys on the Verge of Tears) are highly relatable.
Director James Macdonald and his cast excel in creating an unease beneath the forced good cheer from the get-go, helped by the shabby quirkiness of the space. Set designer Miriam Buether has risen impressively to the challenge of creating a chaotic living room in a thinly-disguised former office. It's dominated by a massive ugly industrial gas heater hanging from the ceiling to one side and a gaudily decorated Christmas tree on the other. The intermittent rumble of the Northern line adds another sinister layer.
Despite the occasion, the first words uttered are hardly festive and herald the impending disquiet. "Jesus F’ing Christ," gasps Elliot, father to Noah (Samuel Blenkin) and Tamara (Bel Powley), who live in this squat. He’s come for a Christmas visit and to meet Noah's partner Maud (Callie Cooke). Nigel Lindsay’s Elliot is terrific – and somewhat terrifying – setting the tone for an evening of family feuds and revelations that boils over into a shouting match liberally laced with more expletives. Though this also contrasts with Elliot’s philosophical nature (as evidenced when he calms down), a fascination with the lore and history of his people and a love of telling stories that leavens the furiosity of his outbursts.
He’s clearly uncertain about Noah’s lifestyle choices and is shocked further as Welsh (non-Jewish) Maud unexpectedly arrives as he's mid-flow in a story and he's prompted to repeat of his opening line even louder. And just when they’re getting past this unfortunate start, Tamara suddenly appears, proving she’s a chip off the old block by reacting to her Dad’s unheralded arrival with yet more expletives. This certainly isn't a play for those fearful of a foul mouth.
Of course, given the season, a meal together is on the menu, albeit Chinese food out of takeaway boxes. But there's also a more unsavoury subtext over the current situation in Israel/Palestine and the history behind it, including the inheritance of the Holocaust, which for Tamara includes second generation survivor’s guilt. The arrival of her ex-boyfriend Aaron (Jacob Fortune-Lloyd) adds a another contentious dimension, for he is delighted by his recent move to Israel. A wonderfully surreal touch is added by Jamie Ankrah, who punctuates the meal as a succession of crazed or stoned intruders from the street, inadequately dressed bearing some questionable gifts.
Christmas Day may be a mixed box of seasonal delights, but it’s plentiful and tasty, just like Grabiner’s writing.
By Judi Herman
Photos by Marc Brenner
Christmas Day runs until Thursday 8 January, but is almost sold out; check website for availability or phone for cancellations. 7.30pm, 2pm (Tue & Sat only; plus 31 Dec & 8 Jan). From £32.50. Almeida Theatre, London N1 1TA. 020 7359 4404. almeida.co.uk