Two women. A deserted hotel lounge bar at the dead of night. A seemingly random reunion.
Ruth and Helena meet seemingly by chance in the lounge bar of The Clevedon Hotel in Bayswater at 3am on a cold, foggy January morning. Ruth, a paediatric neurosurgeon, and Helena, a children’s book illustrator, were once best friends who met at university, but who have been estranged for more than 25 years.
A case of ‘opposites attract’, sexually liberated former punk princess Helena, and mother’s girl from the home counties Ruth seem to have fallen out over the man to whom they were, at different times, married. But the reason for their estrangement is far sadder and profound, and has to do with the feelings of betrayal and guilt surrounding the loss of a child.
THE DAWN OF RECKONING is a powerful two-hander about friendship, loss and the possibility of finding a second chance when and where it’s least expected.
From MBA Productions, directed by multi award-winning director Matthew Parker and written by Mark Bastin, author of five-star reviewed, award-nominated TO HAVE AND TO HOLD.
The production was nominated for 5 Fringe Theatre Awards including Best Production & Best Director for Matthew.
Cast
- Jilly Bond as ‘Ruth’
- Bryonie Pritchard as ‘Helena’
Creatives
- Writer: Mark Bastin
- Producer: MBA
- Director: Matthew Parker
- Set & Costume Designer: Hannah Williams
- Lighting Designer: Abbie Sage
- Sound Designer: TBC
- Stage Manager: Rachael Corrigan
Two expertly judged performances under the finely tuned direction of Matthew Parker… It’s beautifully achieved
Under Matthew Parker’s direction, the piece leans into stillness and silence just as much as dialogue, allowing the audience space to sit with what’s unsaid
Parker’s direction makes strong use of the space at the White Bear Theatre, creating a careful ebb and flow between confrontation and retreat that helps offset the inherent claustrophobia of the setting
Parker’s tightly focused direction ensures the simmering tension remains throughout, creating some wonderfully intriguing finale scenes
An intelligent exploration of the conflicting feelings surrounding former friendships, buoyed by two exceptional performances
Mark Bastin’s writing, and Matthew Parker’s direction keep just enough unsaid for most of the play, until the gut punch of an ending
