Review: The Children (Lyric Hammersmith Theatre)

Review by Ruth Sealey

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Nuclear power accounts for 15% of the UK’s energy production and looks set to rise as we search for alternative energy sources in an ever-changing climate. With it comes the associated risks of nuclear fallout and radiation leaks, with impacts lasting for generations. As we seek more sustainable energy sources, The Children at Lyric Hammersmith Theatre asks where our responsibility to those who come after us begins and ends. Decisions made today will affect future generations, but how do we live with the consequences of the actions and choices we make today?

The Children premiered at the Royal Court in November 2016 and subsequently played in New York and at Nottingham Playhouse. Set in a remote cottage on the coast, The Children follows two retired nuclear scientists, Hazel and Robin, as they live on the edge of a nuclear exclusion zone following a meltdown at a nuclear power plant where they both used to work. The surprise arrival of an old friend and colleague, Rose, brings old rivalries and secrets to the surface, forcing all three to confront their past. Inspired by the 2011 Fukushima disaster in Japan, The Children imagines what this post-disaster world would look like, where environmental issues and the realities of living in a contaminated environment must be faced head-on. Ultimately, The Children asks us to consider accountability for the decisions we make and whether they can be addressed before it is too late.

Lucy Kirkwood’s writing weaves through a variety of themes and ideas and, initially, the unanswered questions pulled me in and made me genuinely interested in who Rose and Hazel were and what it was that brought them together after so many years apart. Kirkwood makes some very clever choices: ‘the children’ are never fully identified and, just as I felt I was getting to grips with this as references to their own children and grandchildren, she turns the idea on its head and introduces the idea of the whole of the next generation being ‘the children’, including those currently working in danger within the exclusion zone. It also raises meaningful questions about parenthood, ageing, and relationships with our own children.

There is plenty to consider here, but too many questions remain unanswered to fully invest in these characters. We learn that Rose has had cancer and wears a wig, but never fully understand what bearing this has on a nuclear disaster or why she behaves the way she does. Similarly, we learn about Hazel and Robin’s daughter Lauren and her mental health, but not enough to understand how this has impacted them and their reasons for the final action that they take. There are some interesting ideas here, and I appreciate the way Kirkwood drip-feeds information throughout, but I found myself wishing that more of these themes and characters had been explored in more depth. As a result, what should have been an emotional conclusion left me feeling somewhat detached from their outcome.

Rachel O’Riordan’s direction uses the cottage setting well, creating a convincing sense of a lived-in space through the physicality of the cast as they busy themselves with everyday tasks. The normality is effective in showing how life has settled into a strange routine following the disaster, however the pace of the play varies very little, and even as tension builds to what should be a climax involving life-changing decisions, it never quite reaches the level of intensity I was hoping for. There are flashes of potential as they start to argue, but the anger I expect Hazel to feel in this situation ends with one slap and a hair-pull, which fizzles out as quickly as it begins. There is so much at stake here, yet the relaxed atmosphere of the cottage creates the feeling that life has not changed significantly since the disaster and does little to help us gain a real understanding of the consequences hanging over the characters.  

Declan Conlon as Robin, Kerry Fox as Rose, and Meera Syal as Hazel are a definite strength of this production, with the trio creating a strong dynamic on stage. Fox and Syal deliver the dialogue quickly and precisely, creating moments that feel like genuine, unscripted discussion. Syal captures Hazel’s unease at Rose’s arrival with real skill, and, from the outset, there is a sense that there is much more to their relationship than meets the eye, which she gradually unravels with care and nuance. Fox plays Rose with gentleness and fierceness in equal measure, bringing an intensity to her determination to rectify a mistake that may haunt generations to come. Robin is an unlikable character, unfaithful and lying to the woman who loved him, and Conlon plays Robin as brash and unrelenting. It is only when Robin realises where his own story must end that Conlon allows the softness of his character to be revealed, and this development is key to understanding the motivation behind his final decision.

Gary McCann has created a remarkable set, creating the feel of a nuclear bunker and power station within the theatre, with concentric circles over and behind the main set creating the impression of a vast space and reinforcing the scale of the situation. Nestled within this is the cottage by the sea, filled with items that create a homely, safe space, while through its doors the sea can be seen in the distance. Everything about this set is cleverly thought-out, creating the impression that this tiny cottage is surrounded by the vastness of the nuclear exclusion zone. Anna Watson’s lighting perfectly complements the set, with blue lighting up the concentric circles, giving real depth to the stage, while Holly Khan’s sound gives the metallic echo and hum of the nuclear power station, alongside the distant sound of waves crashing onto the cliffs. Together, these design elements work particularly well to create the scale of the location and reinforce what surrounds this isolated cottage.

The Children feels particularly relevant today, challenging us to consider the consequences of the choices we make and what we leave behind for future generations. As a parent myself, it certainly opened my eyes to the ‘what ifs’ of the decisions we make and the responsibility that comes with them. The stunning set and design are expansive and detailed, drawing the audience into this isolated world before encouraging them to look beyond the doors of the cottage to the world outside. The Children is thought-provoking, but the pace limits some of the character development, leaving me with more unanswered questions than answers, which at times distracts from the bigger message at the heart of this play. With global warming, conflicts over fossil fuels, and access to oil ever present in our news, I wonder if The Children gives a glimpse into a possible future and, with it, a warning that we should all pay heed to.

The Children plays at Lyric Hammersmith Theatre until 3rd October. Tickets from https://lyric.co.uk/shows/the-children/book-now/

Photos by Helen Maybanks