Review: Mr Jones: An Aberfan Story (Finborough Theatre)

Review by Seth Wilby

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On Friday 21st October 1966, the small mining village of Aberfan was transformed by one of the worst disasters in modern British history when a coal spoil tip collapsed and Pantglas Junior School was buried. 144 people died, including 116 children, and the community endured immense collective trauma in the psychological aftermath.

Transferring from this year’s Edinburgh Fringe, Mr Jones is the debut work of Welsh actor and playwright Liam Holmes, who blends drama and first-hand accounts to tell this tragic story. But, Mr Jones is less a story about the disaster itself and more about the impact it had on the community, choosing to follow two young people as we see how the disaster changed them and their relationships. 

This choice is a brilliant one to properly sell the nuance of this story, and the extent of the impact the disaster had. Few scenes directly reference what happened, and even less take place on the day itself, which is a masterful way to ground the story in reality. While I’m sure that many could argue the play spends too long on expositional backstory, I feel this is one of its greatest successes, using the audience’s historical knowledge of what is to come in order to make the impending tragedy a character in its own right- regardless of how light a scene may appear, each and every one has the sombre undertones of this horrific foresight. The framing device is genius and, by constantly flicking between scenes of the impact of the disaster and flashbacks to a life before, the tragedy stays in the forefront of our minds the entire night, and, like the people of Aberfan, it’s something we can never shake or move on from. It’s one of those plays where the emotions loom over you for the whole night, and create an impact that will stay with you for a very long time. 

Holmes' writing is incredible in the scope of what it manages to achieve. Always engaging, impactful and intimate, Holmes’ writing has this remarkable ability to have the audience cling on to every word, delivering an intense emotional power while leaving room for incredibly witty lines that add to the emotional rollercoaster of the evening. The dialogue between the two characters feels deeply real and human, and their emotions are unavoidably raw. Over the eighty minute runtime, we understand all they’re battling with, and truly get to know them as complex, layered individuals. Their relationship feels genuine, and nothing is hidden. Through this, Holmes manages to make the play not only a commentary on grief, but on community and love. The production’s sensitive handling of the disaster is one to be admired, never overdramatising anything and always being a powerful reminder that some scars will never heal.

It’s rare for writing to be able to achieve humorous dialogue and profound emotional depth at the same time, but Holmes tackles this with ease. There were moments where it felt like the whole audience was holding their breath, and moments where everyone was laughing away at two squabbling friends. Although many plays with this subject matter would set out with the sole goal of inducing sobs, Holmes tries something different, mainly letting the harrowing sadness of the story find its own way out, yet occasionally bringing a devastatingly sad scene, showcasing how emotions don’t always have to follow a clear path. The production’s most moving choice was to intersperse some scenes with real-life testimonies of those who were affected, played over the speakers in the theatre, which grounded the truth of the play in a hauntingly hard-hitting manner. This unavoidable emotional impact is a testament to the quality of the writing, which is amongst some of the most powerful I have witnessed in a theatre this small. 

Holmes also stars in the play as teenage rugby player Stephen Jones, a role which he embodies with every fibre of his being. Holmes' familiarity with his text and clear passion for the story oozes out of his performance, which flawlessly takes us on a journey from naivety to grief to longing, with an emotional cocktail mixed inbetween. Holmes is magnetic in his monologues and an instantly charming narrator, connecting the audience to the show from the get-go. Some of his line deliveries were truly harrowing, and his performance had the necessary intensity to land every emotional beat. Holmes’ performance in the final scene was heartbreaking to watch, making the most powerful possible end to such a powerful play.

Opposite Holmes was Mabli Gwynne as Angharad Price, family friend of the Jones’ and Stephen’s unreciprocated love interest. The chemistry between the two was ideal, forming a dynamic that could hold the whole play on its shoulders, and Angharad’s emotional arc was a particularly interesting contrast to Stephen’s, which was executed excellently. Gwynne knew exactly what each scene required, be it humour, anger or sorrow, and her performance shifted with ease to garner the desired reaction from the audience. One scene of Angharad and Stephen at the hospital on the fateful day demonstrated the magnificent way that both could portray their character’s passionate emotions while reminding the audience of the bigger picture of the disaster’s impact.

Michael Neri has directed a simple production that complements the writing perfectly, letting the emotional impact land for itself, and allowing each audience member to react in their own way. The staging feels dynamic and compelling, with depth provided by Juliette Demoulin’s set design, with faint details ingeniously mimicking how the disaster continues to haunt the lives of all affected. A terrific energy is created by Alastair Tombs’ harsh lighting design and James Barnes’ atmospheric soundscape, with both necessary to clarify location and scene changes. The creative elements collaborate to form a strong platform for both the writing and performances to build on in order to create something deeply real and emotionally impactful.

Theatre has the power to tell the most powerful stories, and Mr Jones is an ideal demonstration of that power. Liam Holmes could very well end up a generation-defining writer with his ability to let so many emotions coexist in every scene. He understands the need for this story to be one not of dramatics but of human emotions, and it would struggle to have a stronger impact. It’s a play with a power that is hard to put into words, and it is impossible to do justice to this extraordinary piece of fringe theatre. This is a play that needs to be seen by a wider audience, for its profound power and heartbreaking storytelling.

Mr Jones plays at Finborough Theatre until November 22nd

For tickets and information visit https://finboroughtheatre.co.uk/production/mr-jones/

Photos by Ali Wright