As with any trip to a pub/theater venue, I start first with a drink. The Golden Goose is certainly unique; I am greeted by some friendly regulars, and a sweet plodding dog. A continuous mix of 80s hits plays in the background (Hit to be Square, Take on Me, Elton John...). We are all watched over by a TV showing a silent but subtitled GB News. The venue sits in this uncanny space between approachable and perhaps a little unnerving. As a first-time visitor though, I am made to feel incredibly welcome.
Entering the theatre itself, we find ourselves confronted with a set of a British back garden. Bird song and the occasional car. A man walks pensively about the stage. Director Brittany Rex clearly likes to do this kind of pre-play scene setting, the previous play of hers I saw similarly had characters waiting for us on arrival. I like it too.
All of the above accurately set the tone for the play that followed: David Solomon's Dad. A new piece of writing that is banterous, warm, and naturalistic, as well as unafraid to venture into darkness.
Dad focuses on three brothers Nathan, Aaron and Karl, waiting for their elderly father to show up after going missing. They argue and joke, as well as bond over their shared dislike of the patriarch. What starts out as a humorous production unravels into something of real depth.
Dad is a very male play, for lack of a better descriptor. My first point of comparison was Patrick Marber's Dealer's Choice, a play I have little fondness for. Dad has the same masculine bearpit energy. Unlike Marber however, Solomon actually understands emotion, and really knows how to tell a good story.
Dad is lucky to have such a great cast. Ivan Kaye is absolutely brilliant in this production, I had a hard time taking my eyes off him, regardless of whether he had lines or not. He is effortlessly comic. Nigel Betts is formidable, and Solomon (who stars in addition to writing) puts in an incredibly endearing performance. The play has been devised for Solomon, Kaye and Betts - all friends in real life - and it shows in how natural the dynamics are between cast members. The play's best moments are the witty exchanges between the lads, like an Inbetweeners of old curmudgeons.
Dad in some elements perhaps feels slightly dated stylistically. I think there are very few plays written in the present day that would include a Cell Block H reference - I certainly would not have expected one. Joanne Arber plays the character of Leila, the only woman in the play. Leila feels as if she is going to be the sexist “ex wife” stereotype, but thankfully really comes into her own as the play progresses. She comes across as possibly the most fleshed out, and without a doubt the most headstrong of the characters.
For me, the slight weak link in the cast is Paul Kelvin, and the scene where his character Daniel is introduced. This is the point in the play where the wind gets taken out of the sails somewhat. If this is supposed to be the emotional heart of the play, it should be written, acted, and directed as such. I feel it is a mistake to continue on the irony drenched lines, albeit in a more muted way, into what should be these more touching scenes. It just does not quite land, and you feel the loss of energy and focus sitting among the audience too. This is my only real criticism.
I would highly recommend anyone to catch Dad before it ends its run at The Golden Goose, though I would be incredibly surprised if this does not come back for more performances soon. As someone who has been watching (and usually has a taste for) ultra-dark avant-garde epics, this burst of energy and brilliance felt like a real breath of fresh air. ★★★★☆
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