Backstroke review

Anna Mackmin's Backstroke depicts the chaotic life, past and present, of Bo (played by Tamsin Greig) as it pertains to her relationship with her mother, Beth (Celia Imrie) caring for Beth in declining health. Backstroke makes its home at the always forward-thinking Donmar Warehouse, which has provided some of greatest moments of theatre in recent memory. Backstroke balances joy and despair, by offering some great witty lines like: "you're only a true craftsperson when you've gifted someone your work and have had to endure their ambivalence" (paraphrasing) alongside its broadly dark themes.

Unfortunately for Backstroke, the pacing is somewhat off. We suffer a long and grueling first half, which perhaps engages too much in sorrowful tone setting, rather than more complex narrative building. The play's second half felt comparatively short, with greater incidences of charming humour, in addition to better exploring the depth of the dynamic between mother and daughter. Overall act two comes across as far more multifaceted and uplifting.

As the play continues, transitions between present day and flashback become more considered, and the depictions of the past contain optimism, making Beth's return to her present-day hospital bed or the re-entering of nurses to the room has more impact; an omen of the dread to come.

Notable is the use of film (in the current zeitgeist, cool new theatre cannot be done without it). This often serves, rather effectively, to open us up to, act as a window into Bo's struggles with her career and her own daughter, who suffers with severe attachment issues and PTSD. Another more creative use of set design comes where the back of the stage opens up to reveal a beach, a scene where we get to see both characters more as equals. 

One of the few moments where Greig's character takes the role of the cared for, rather than that of the carer is where we see her being taught to swim at six, a scene which verges on the surrealist, but ultimately is quite beautiful. 

Despite largely seeing Beth portrayed as a difficult individual, Bo wants her mother's funeral to be a momentous occasion, another insight into the love she has for her mother. We see the good (and the bad) in Beth always through the eyes of Bo. The final scene is where Backstroke is its most touching, where a shopping-list-like eulogy is given, where Bo catalogues everything her mother ever taught her. An authentic demonstration of love.

Backstroke undoubtedly has all the makings of a great play, particularly its cast, but it lacks consistency and a first half lacking in balance and dynamism lets it down. My slight disappointment comes not from what it was but what it could have been. That said, Backstroke was reaching at something truly great, and was well worth the watch. ★★★☆☆