Culture Theatre

Roots at Donmar Warehouse

Roots at Donmar Warehouse | Theatre review

One of three plays by Arnold Wesker centred on recurring invisible protagonist Ronnie, Roots is sandwiched between Chicken Soup with Barley (our introduction to Ronnie’s East End Jewish-Communist family) and I’m Talking about Jerusalem, which focuses on Ronnie’s sister Ada. Roots is the most popular and influential of this trilogy of autobiographical plays from the 1950s, and unfolds the uplifting story of Ronnie’s girlfriend Beatie Bryant, played at Donmar Warehouse by an incandescently superb Jessica Raine (of the BBC’s Call The Midwife).

Beatie returns to her Norfolk roots for two weeks to prepare her hardworking rural family for the arrival of her intellectual city boyfriend, Ronnie. She blows in “like a whirlwind”, delighting her family till she starts jumping on chairs parroting a frustrated Ronnie and sermonising with wide-eyed, new socialist talk. Pretty soon the cracks in this dysfunctional, loving family begin to widen and resentments bubble to the surface, in particular the chasm between Beatie and her mother, played to perfection by Linda Bassett (star of the BBC’s Lark Rise to Candleford).

The acting throughout is honest and exquisite with every subtle nuance shimmering from the stage and enveloping its hypnotised watchers. The narrative may be simple and the ending plainly obvious, but Roots is not a thin play – its lush textures overflow with intimacy and warmth. A continuous empathy builds to many mini peaks, crescendoing to ensure that after just over two hours, when our heroine finally drops the endless Ronnie quotes and finds her own unique voice, beguiling Beatie’s inner awakening is a deeply satisfying conclusion.

Some Norfolk colloquialisms may not be understood, but the struggles of an ever-changing society, a disenfranchised, conflicted youth, and Wesker’s own experiences (Beatie and Ronnie are based on himself and his once future wife Dusty) are clearly understood throughout this most absorbing play. Wesker deftly gets his messages across using a compassionate “cleaning cloth” approach, gently rubbing to expose the raw social and generational cracks, instead of hitting us repeatedly with a blatant cast-iron frying pan.

The two ten-minute breaks provided not only work perfectly for comfort, but also enhance the play’s three-act structure to its maximum effect. This sensational revival is still very relevant, and director James Macdonald’s choices are flawless. Well-deserved credit is due to all concerned.

Laura Jorden
Photos: Stephen Cummiskey

Roots is at the Donmar Warehouse until 30th November 2013. For further information or to book visit the theatre’s website here.

More in Theatre

Till the Stars Come Down at Theatre Royal Haymarket

Jim Compton-Hall

The Merry Wives of Windsor at Shakespeare’s Globe

Sophia Moss

Girl from the North Country at the Old Vic

Antonia Georgiou

Noughts & Crosses at Regent’s Park Open Air Theatre

Ruweyda Sheik-Ali

Wilko: Love and Death and Rock ‘n’ Roll at Leicester Square Theatre

Antonia Georgiou

Diamonds and Dust at the Emerald Theatre

Sophia Moss

Moby Dick at Tower Theatre

Benedetta Mancusi

Evita at London Palladium

Antonia Georgiou

Underbelly Boulevard Soho announces Fringe Fix programme for post-Edinburgh season

The editorial unit