Review by Sam Waite
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A founding member of the Bush Theatre’s Young Company, Coral Wylie credits their work – or the voice behind it, to be more specific – to the natural world around them. Perhaps its only natural (sorry) that their new play, performed by themselves and others in the Bush’s main space, attaches its metaphors around personal and familial growth to the meditative act of gardening.
Developed during Wylie’s time as a member of the theatre’s Emerging Writers’ Group, Lavender, Hyacinth, Violet, Yew was awards-recognised before even being programmed, shortlisted for The Alfred Fagon Award in 2023. The show finds Pip, played by Wylie, digging deeper into their parents’ history, and forging a connection to the family friend they never met. Allowed by their mother to wear an old jacket of Duncan’s, their quiet discovery of one of his many diaries opens Pip up to the queer, Black inspiration they never had.
Omari Douglas, no stranger to some of the heavier themes after his acclaimed work in It’s a Sin, excels in the role of Duncan, whose diary entries move to story into flashbacks of his life and of his kinship with Craig and Lorin, who would eventually become parents to Pip. Boisterous and playful one minute and absolutely heartbreaking the next, Douglas’ substantial stage presence gives real weight to the question of whether Lorin and Craig even work without Duncan’s influence on their lives and home. Confusingly, there are moments where Douglas’ reading of the diary entries is pre-recorded, despite it being significantly more impactful and engaging when he performs them in real time.
In truth, it could be said that much of the show is held back from brilliance by an element too many being included. The blank, white set, indicative of Craig’s having the garden planted by Duncan paved over, and of the metaphorical colour his loss stripped from the home, is at times much too busy. Actors move set-pieces and props to and fro, and often I felt I’d be less pulled out of the moment if I had to imagine that a large table was centre-stage than being seeing Douglas and Pooky Quesnel create one from a kitchen table and packing boxes. Panels on the sides of the set can be removed to reveal more of the spectacular garden grown by this dearest of friends, but it was hard not to wonder if there were move effective, quieter moments to reveal this in bits and pieces, rather than one extended moment which ended up feeling far too long and intrusive.
Though it can become too busy, designer Max Johns does make solid use of simple pieces, and the subtle blankness of the family home in a strong choice for the material. Johns must be commended for the jacket which begins it all, one of a trio of pieces so visibly 80s that of course it belonged to a gay man in that time, but also attractively vintage enough that Pip’s being drawn to it doesn’t feel too forced. Also to be applauded is Dan Yeo, botanical designer, who has pulled together a vibrant and eventually beautiful garden to encompass the stage.
Wylie does well as both performer and playwright, giving a youthful blend of exuberance and combativeness to the role of Pip. Where they and Douglas handle the stage with relative ease, there are moments where their co-stars can feel more stilted by it. Both Pooky Quesnel and Wil Johnson are wonderful with subtleties, carrying fleeting but powerful emotions close to their chest, but there’s a recitative quality to some of their more outward moments that feels more learned and repeated than internalised and expressed. Where Wylie and Douglas expand their energy beyond the black-box space, Quesnel and Johnson have perhaps fallen victim to its perceived intimacy, lacking a certain broadness that would help the audience connect with their quieter moments.
Clearly having a deep understanding of their themes, and a genuine connection to the characters they have created, Coral Wylie has crafted four believable and relatable characters at the heart of Lavender, Hyacinth, Violet, Yew. The dynamics between any combination of characters is so heartfelt, so genuine, l that it’s a true shame there was no way found for Duncan and the now-adult Pip to interact more directly, be it via dream or simply through imagination. With the assured guidance of director Debbie Hannan, the second act in particular carries moments of such joy, and of such immediate sorrow, that it’s difficult to not be entirely won over by this play, and by the complicated family at its heart.
Lavender, Hyacinth, Violet, Yew plays at the Bush Theatre until March 22nd
For tickets and information visit https://www.bushtheatre.co.uk/event/lavender-hyacinth-violet-yew/
Photos by Helen Murray