Review by Daz Gale
⭐️⭐️⭐️⭐️
After an incredibly strong 2024 full of acclaimed productions and the announcement of a West End transfer coming later this year (the sensational Giant which made it as one of my favourite plays of the year), Royal Court are hoping to get 2025 to an equally strong start with their first production of the year, A Good House. A co-production with Bristol Old Vic, would this set the bar high for their slate this year?
As well as an imminent move to Bristol, A Good House was originally co-commissioned with the Fugard Theatre in South Africa, showcasing the Royal Court’s collaborative nature and highlighting what is important to them in theatre making. This was reiterated in a pre-show speech by Artistic Director David Byrne, made all the more poignant by the passing of Joan Playwright who was a founding member of the English Stage Company and the Royal Court’s honorary President. The mood in the room following that speech was full of love and an inspiring wish to celebrate good theatre – thankfully, A Good House more than delivered on that front.
Set in a suburban community called Stillwater, the residents of this still fairly new area enjoy a quiet life, not disturbing anyone and keeping themselves to themselves, all the while respecting the unwritten rules of the area. This is thrown into chaos when a small and mysterious shack appears on a plot of unused land. Seemingly threatening their values, the residents of Stillwater come together in a bid to get the unknown occupiers evicted but is the value of their property the only thing they are concerned about, or are there other motives at play?
This question is central to the themes of A Good House, always bubbling away underneath the seemingly innocent dialogue and microaggressions that several characters show. That theme is racism. Starting with Sihle and Bonolo moving into the street, the action skips forward two years to neighbours having a wine and cheese night for the first time, tripping over themselves to prove they are not, in fact, racist. This is harder to deny when they meet their other neighbours and a case of mistaken identity showcases their prejudices and stereotypes. The three couples all coming together brings a room full of tension as Sihle and Bonolo call this behaviour out, despite historically handling it differently, and having differing views themselves.
Amy Jephta’s writing is a wonder to behold, laying out all of these themes and watching them build into something bigger gradually. Incredibly natural in her writing style, a seemingly throwaway line in A Good House can change the mood immediately. A harmless conversation can be transformed completely by a line or action that can make you wince in a true reflection of interactions many of us will be familiar with, Jepta’s rich writing allows each of the six characters to be explored, making the interactions with each other and the ultimate payoff all the more rewarding. A genius touch in the writing are a couple of scenes where Sihlr and Bonolo freeze the action and let their inner thoughts play out – exaggerated and over the top, this can range from them rolling all over the stage laughing at their white neighbours struggling with them being black, or a less humorous outburst where their patience wears thin. This is part of what makes A Good House so refreshing and compelling.
Nancy Medina’s direction beautifully finds ways to realise Jephta’s writing, with these freezeframe moments the most awe-inspiring choices to behold. The differences in each of the six characters and each of the three couples has been meticulously thought out so even their interactions with each other make the writing feel all that more realistic. The shack itself forms the mute seventh character in a gorgeous bit of set design from ULTZ. An empty stage is transformed into two of the couples’ houses with the addition of backdrops and props, differing for both, all the while with the shack in the background, constantly evolving. While this was a great use of design, my only minor criticism of this is the length of time each scene transition took, slightly impacting the momentum in this thrilling and tense singular-act show.
The cast of six all impress with their abilities. Kai Luke Brummer gives an exaggerated introduction as Andrew before bringing a new dynamic with the introduction of wife Lynette, wonderfully played by Olivia Darnley. The final couple we meet in A Good House are Jess and Christopher, played by Robyn Rainsford and Scott Sparrow. Sparrow is eternally awkward and anxious in his characterisation, but an explosive outburst reveals something more sinister lurking underneath, while Rainsford plays up to the supposedly calm demeanour of Jess with some hilarious new-age moments.
There are two standout performances in A Good House by far, and that belongs to the Sihle and Bonolo themselves. As Sihle, Sifiso Mazibuko gives a slow-burning turn as the character who finds everything funny, even when it shouldn’t be. As this façade starts crumbling away, his true emotions rise to the surface leading to a powerful moment that showcases Mazibuko’s stunning abilities. Unable to see why he acts like that to begin with, Mimi M Khayisa continually thrills as Bonolo from her initial appearance as the boujee wife to information on her own upbringing and why she acts the way she does. Conflicted by what she needs to do with the new residents and demonstrating her own turmoil, Khayisa is incredible in her abilities, often displaying contrasting feelings simultaneously.
At one hour 40 minutes with no interval, A Good House speeds by. Though a comedic play on the surface, this is far more serious than that with the comedy a way of highlighting these issues and microaggressions. Uncomfortable to watch at times but always captivating, this is an exceptionally written piece brought to life by a consistently stunning cast. Though they’re only occupying the space at Royal Court for a short time, I would love to see this compelling show return to London for a longer stay in the near future.
A Good House plays at Royal Court until 8th February. Tickets from www.royalcourttheatre.com
It then plays at Bristol Old Vic from 14th February – 8th March. Tickets from www.bristololdvic.org.uk/whats-on/a-good-house
Photos by Camilla Greenwell