America’s Deep South appears to be something of a source of inspiration for the Young Vic at the moment.
Following the brash and entertaining Vernon God Little earlier this year, we are now given the equally well staged, but rather more subtle The Member of the Wedding - Carson McCuller’s examination of the despair to which those disenfranchised by white patriarchal society in forties Georgia can be driven.
In a society in which blacks are second class citizens and a young girl almost equally invisible, McCullers presents us with the story of Frankie - a 12-year tomboy who is driven mad with anticipation by the approach of her elder brother’s wedding - and Berenice, her stoical maid who quietly suffers with her lot in the world.
This revival of this fifties Broadway hit, staged beautifully using a rear view of a mid-century southern home, revolves around the two central performances of debutante Flora Spencer-Longhurst and US actress Portia, as the young girl and the maid respectively.
Spencer-Longhurst belies her 21 years in her portrayal of the pubescent Frankie, capturing the awkward gait and exaggerated responses of a young teenager remarkably, but it is Portia as the long-suffering, yet well-humoured Berenice who truly excels, creating the emotional centre of the play around which events unfold.
Director Matthew Dunster does a fine job of capturing the ambience of both time and place, with the introduction of jazz music interludes throughout, and an atmospheric storm scene as the production builds to a climax. Deeply affecting stuff.
Production information can change over the run of the show.
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