Review: Driftwood (Kiln Theatre)

Review by Phil McCullough 

⭐️⭐️⭐️⭐️️ 

As support grows for Trinidad's independence in 1956, the gentlemen's club Alma becomes a microcosm of the wider political and social tensions on the island. The play 

Having completed a premiere run at The Other Place in Stratford-upon-Avon, the debut play by Martina Laird transfers to London for a run at the Kiln Theatre. Giving a window into the final days of colonial Trinidad through the eyes of the Joseph family, the script has been in development for more than twenty years and was picked up by the RSC after finishing runner-up for the Verity Bargate Award. Exploring identity, belonging and family, does it manage to feel authentic, and does the unravelling family drama truly pack an emotional punch?

Laird, who spent part of her childhood on the island, writes with a rich Trinidadian flavour that feels authentic throughout. The script is packed with local colloquialisms, and the language transports the audience into this 1950s world. The story explores different notions of motherhood and constantly asks what makes a "bad mother". Is it abandoning your son as an infant? Is it allowing your daughter to sit on older men's laps in the gentlemen's club you run? It is the way these ghosts from the past are confronted that gives the production its bite.

Shakespearean language is scattered throughout the script, with direct quotations such as "Look like the innocent flower, but be the serpent under't". The English gentleman's Mansion quotes Lady Macbeth to the young Pearl when she proves deceptively clever during a game of cards. Yet the line also mirrors the growing independence movement bubbling beneath the surface of Trinidad itself. This is where Laird's writing is at its strongest, finding political meaning in certain moments.

Justin Audibert's direction captures the atmosphere of this world beautifully through evocative music, strong visual storytelling and carefully crafted performances. Alma itself becomes a metaphor for Trinidad. The club is owned by the aging Englishman Mansion, yet it is the Joseph family who have poured their blood, sweat and tears into keeping it alive. The struggle between family members, all seeking control of the place they call home, creates compelling drama while reflecting the island's wider political tensions.

At the centre of the stage sits a piece of driftwood carved into the figure of an African woman. Pearl recounts how the driftwood must have come from Africa, and it becomes a powerful symbol of displacement, ancestry and loss throughout the play. In one particularly poignant moment, Pearl cradles the figure like a child, reflecting the mother she never was to her firstborn son. At the heart of the production is the idea that belonging, identity and security are all tied to family, even when those family bonds are fractured.

Simon Spencer's lighting design brings warmth, atmosphere and a sense of Caribbean heat to the production. Light filters through patterned screens, creating beautiful textures across the stage and helping to immerse the audience in the setting. Christella Litras' music complements this perfectly, adding richness and emotional depth to the storytelling.

Ellen Thomas is outstanding as Pearl. Her performance feels authentic, layered and completely believable. When her long-lost son returns searching for the mother who abandoned him as a baby, Pearl's coldness is genuinely shocking. By the end of the first half, it is difficult to feel sympathy towards her. However, Thomas excels in the play's most tragic moments. As Pearl finally opens up about the son she gave away, the audience is allowed a glimpse beneath her hard exterior. What emerges is a deeply complex and emotional woman wrestling with decades of guilt and regret. It is a powerhouse performance that is both fierce and heartbreaking.

Martins Imhangbe is equally convincing as Pearl's long-lost son, Diamond. He brings real presence to the role and initially carries an underlying sense of danger. However, it is when his vulnerabilities begin to emerge that Imhangbe truly connects with the audience. Cat White is striking as Ruby and shares strong chemistry with Imhangbe, although I was not fully convinced by every aspect of the performance.

Overall, this hard-hitting family drama feels Shakespearean in scale. Many of the characters are deeply flawed and often unlikable, making it difficult to root for them for much of the evening. It is only in the final scenes that sympathy truly emerges for both Pearl and her displaced son, Diamond. While most characters are driven by self-interest, the final confrontation between mother and son is genuinely moving. Combined with several powerhouse performances, it ensures Driftwood leaves a lasting impression.

Driftwood plays at Kiln Theatre until 4th July. Tickets from: https://allthatdazzles.londontheatredirect.com/play/driftwood-tickets

Photos by Marc Brenner