Review: Mammy’s House (Upstairs at the Gatehouse)

Review by Molly Gulvin

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Responsible for over 40 million deaths worldwide since its recognition in 1981, the AIDS crisis had catastrophic effects, particularly on the gay and bisexual communities of the time. Mammy’s House, playing at Upstairs at the Gatehouse, explores just one strand of this catastrophe: that of a found family of queer Irish people living in London as the crisis unfolds, experiencing it in their own ways. In a piece that is equally moving and powerful, Mammy’s House forces a lesser-told story to the surface, and ensures that every member of the audience will leave with a mental promise to remember their tale. 

Mammy’s House focuses on Barry, affectionately known as ‘Mammy’ by his lodgers. Having opened his home to Mags, a lesbian who used nursing to make it to London, and Niall, Nellie to some, he is forced to watch the AIDS crisis unfold alongside his chosen family, and the impacts it has on himself and those he loves. Past traumas and recent events collide as the group is forced to come to terms with the stigma, discrimination and misconceptions that come along with the disease. Set mostly in a small kitchen, the play consists of a series of scenes spanning from 1981 onwards, where the group (alongside visiting family and friends) learn to love, fight and have pride in themselves as the world’s attitude towards them shifts and evolves with every day.  

There are very few words that can describe the urgency of Amy Clarke’s writing (and her conceptual development alongside Derek Murphy). Full of poignant and heartbreaking scenes, every word heightens the impact of the piece and every moment is used to its full potential. Her script draws the audience in with every line, weaving familiar scenes from an Irish kitchen into a touching tale of love and loss, truly bringing them along for the journey (and causing multiple tears through her heartfelt writing). Whilst the narrative may take a while to accelerate in the first act, the emotional punches that follow make the exposition more than worth it. Clarke plays a masterful hand in her writing for this play and cements herself as one to watch as her career continues to unfold. 

Brian Brady directs this production, and his direction leads to a wonderful overall piece. From the light-hearted start of the play through to the incredibly emotional end, Brady proves that he can maintain control of every beat, whilst still creating a product that is natural in its development. This can particularly be seen in the way that the characters are approached: the raw and real way in which the characters react to the story is testament to both the actors and Brady’s directorial skill. Perhaps, however, some time spent on further aligning the creative elements of the works would not go to waste: this can be seen particularly in the set changes, where the music chosen to play over these moments is sometimes not long enough for the onstage work, leading to some unintended silent beats that become awkward as they extend. With that being said, the impact that these moments have on the larger work is minor, and they do not detract from Brady’s larger directorial impact.

This play is brought to life by a cast of primarily Irish actors, and they do so with charm, ease and an emotional depth that brings the piece to new heights. Conor O’Dwyer plays a wonderful Niall/Nellie, telling their story (and the story of countless real men) with a nuanced and heartfelt touch. Similarly, Jemma Curran is stellar as Mags, with a particularly heartbreaking moment in the second act that elevates her performance. Co-creator Derek Murphy, however, stands out as Mammy. His ability to perform in even the quietest of moments, bringing emotional depth to every word, creates a truly unforgettable performance. 

Although, as previously mentioned, the technical elements are not entirely aligned with each other, their individual impacts are still exceptionally strong. Humphrey Jager’s set design works to create a homely atmosphere that functions well within the setting of the play. The same can be said of Jacky Levy’s costume design: the characters’ personalities shine through their costumes at every opportunity, yet there is still a sense of unity in the designs. Alexander Capon’s lighting design subtly emphasises the reality in which the play is set, with simple choices - such as a particular scene in which a warm lamp is used instead of the harsh ‘big lights’ - working to cement the domestic setting.

If I were to make the rules, Mammy’s House would be required viewing for anyone interested in Irish history or queer history. Highlighting just one of the forgotten sub-communities from the AIDS crisis, the play is vital in emphasising exactly why telling these stories becomes even more important as time moves on. Something that truly has stuck with me is the characters’ hope for a ‘freer Ireland’ in the future, where they would be able to be themselves unapologetically at home. It has been just fifteen years since Ireland introduced civil partnerships, and ten since gay marriage was legalised. The story that Mammy’s House tells is not only vital for the commemoration of the community of the time, but as a reminder of those who fought on behalf of the communities of today, and those who continue to fight for a multitude of reasons. Clarke and Murphy have created a powerful and unforgettable piece, and this production delivers their story to perfection. 

Mammy’s House plays at Upstairs at the Gatehouse until 13th September. Tickets are available from https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173674251/