Review: Reunion (Kiln Theatre)

Review by Hannah Abban

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A family get together in memory of loved one they’re keen to honour, but beneath the waves and humorous jokes, tension is brewing. This production at the Kiln Theatre is Reunion’s first run in London but initially the play, written and directed by Mark O’Rowe, premiere at the Galway International Arts Festival, produced by Landmark Productions – one of Ireland’s leading production companies.

Sound designer Aoife Kavanagh transports audiences to the West coast of Ireland as they step into the theatre, with hear the loud but soothing sound of crashing waves. It’s a nice touch - initially lullaby-like but also slightly chilling, as if foreshadowing more drama to come. There being no interval was something that stood out to me. When told this by the lovely staff I did initially panic (I do love a good loo/snack break, after all). But honestly, its absence was never felt, O’Rowe had me so immersed in the family dynamics and in the relationships unfolding before me on the stage.

The waves are an ongoing theme throughout the play – with the first scene and first lines of the play being about how choppy the waves are, and the consequences for any boats on the waters. Marilyn looks out onto the waters fascinated, calling her mum, Elaine, to come and look, too. Together they look out – two family members watching the troublesome waters from afar. However, trouble will soon be on their doorstep, as over the next few minutes they’re joined by other family members for the getaway. These include daughter Janice and her partner, Stuart. It also includes son Maurice and his partner, Holly, and Ciaran, Marilyn’s boyfriend. The singletons in the group appear to be Gina (Elaine’s sister) and Felix (Holly’s father). Aonghus, Marilyn’s ex and the deceased’s close friend also makes a few chaotic entrances in the play.

Within the first few minutes the audience was already chuckling. The play started as it meant to go on, with laughter dotted throughout each act. I know this is something that may be initially surprising considering the premise of the production, however it provided much welcome comedic relief to balance out the tension in various conversations, especially in the later half. O’Rowe has dotted humour throughout his quick flowing dialogue, the moments never predictable. It definitely added positively to the rollercoaster of emotions I felt during the play. Yet, part of me does wonder if, particularly as a director, he could have dialled this back a bit in places to really let the audience sit uncomfortably in the intensity of emotion coming from the stage.

One character who never failed to make me smile was Felix, Holly’s dad. Played by Stephen Brennan, he would often leave the house, with little notice, making it clear that he did not want to be there or around the others. His demeanour, even when present with the rest of the cast often screamed ‘I don’t want to be here.’ Although it did come across as slightly odd, looking back, Brennan had played the character as more upfront about feelings everyone in the house was experiencing at one point or the other during the play. What’s not to admire there?

Interestingly, what I found most fascinating were the scenes where characters engaged one to one. They were unexpectedly vulnerable, with the right amount of humour sprinkled in to make you laugh and gain a better understanding of each character. For example, the slightly odd but hilarious interaction between Gina (Catherine Walker) and Felix which ends in farmyard tryst. The drama in this play reveals itself naturally. Many of the characters have quite strong personalities, often speaking aloud what they feel and bluntly saying things at it is. A nightmare for the office of course, but not such a disadvantage when family conflict needs to be unravelled. Exhibit A: Marilyn, a terrific Kate Gilmore. In one instance when Marilyn’s ex-boyfriend is given an awkward and slightly cold reception, she screams at them, reminding them of his importance in her life and demanding they be nicer because of that.

What unfortunately seems to happen because of this combination of things is rapid change between a warm and hostile environment. A key example of this is when Walker’s Gina, having just split up from her husband of 13 years bears her soul about feeling lonely. Despite become a bawling mess, clearly in need of comfort in the midst of her vulnerability, the family awkwardly sit around her. Yes, they’ve been listening, but the reception and response is underwhelming, almost as if they’ve malfunctioned. Unsure of how to deal with it they go into humour mode and eventually Gina shuts up reels in the secrets she shared. Almost as if to say, ‘message received.’

In the bathroom after watching the play (i.e. the key hub of post-show theatre critique), one lady next to me said aloud to a friend ‘But we never figure out why exactly they hate each other.’ And regardless of who in the play she is referring to (I was too focused on my hand washing to ask), this is true. Whether its Elaine (Aislin McGuckin) being frustrated and lashing out at Marilyn, or its Marilyn and Janice (Venetia Bowe) at each other’s throats, you’re never able to pinpoint the primary source of the tension within the relationships on stage. But that’s life, and that’s the point. The play itself is just a screenshot of a point in time in the family’s life. It’s likely that any issues that triggered arguments on the day were not the key explanation for conflict between family members. Instead, they’re probably the final straw in what has been a slowly rolling snowball of events. And there’s beauty in that.

This is a strong showing from Mark O’Rowe, both as writer and director, and the chemistry and range of dynamics the cast were able to create in a fairly short space of time is acting, as an artistry, at its peak. My advice: buy a ticket – and then like waves themselves, be prepared to be blown away.

Reunion is running at Kiln Theatre in Kilburn, North London until 11th October 2025.

Photos by Mark Senior