Mother and Son

There is no stronger bond than one forged within a family. They are there through thick and thin, and that love can be tested as the years roll on. This is highlighted in Ipswich Musical Theatre Company’s production Mother and Son.

In Geoffrey Atherden’s latest adaption of his classic television show, we lovingly return to the home of Maggie, who is struggling with the challenges of technology and growing old, along with her caring son, Arthur. After years of stress looking after Maggie, Arthur decides to take a break with Anita, a woman he has been seeing. Arthur must ensure his unreliable brother, Robert, and Robert’s highly-strung partner, Liz, can look after her. But Maggie ensures that nothing is ever so simple.

Martie Blanchett had a mammoth undertaking in the role of Maggie and delivered. Blanchett captivated the audience by driving a performance full of humour and heart from her entrance to the bittersweet ending. Michael Lawrence made the audience fall back in love with Arthur again. His comedic frustration countered perfectly with Blanchett while his warmth slipped in wonderfully to remind the audience how much he cared for Maggie.

Shane Mallory as Robert oozed sleaze. Mallory’s comedic performance enhanced the production yet left the audience feeling disgusted towards the lowlife of a brother and how he manipulates his mother. The counter to this was Robert’s wife, Liz, played wonderfully by EJ Campbell. Campbell commanded every comedic situation to utter hilarity. While Stephanie Collins as Anita brought a soft, heart-warming performance that melted both Arthur’s and the audience’s hearts.

Susan Glosko as Monica and Olivia Bird as Steph, and the voiceover for Rita may have had more minor parts. Still, both actors brought fully fleshed-out characters, adding reality to the production. The cameos in the videos of the two children, played by Shivawn Macdonald-Mall and Jesse Frommelt, cleverly portrayed two disgruntled kids who aren’t interested in their grandmother.

Directing a well-known piece can be challenging, but Adrian Carr mastered the task. Carr ensured that the production was grounded. The blocking was natural; the characters were organic. The comedy packs a real punch, while the harsh realities are handled sweetly. Carr expertly respected the source material, making the production feel like a long-lost episode.

The set design, also by Adrian Carr, instantly reminded audiences of an older family member. The sound and lighting by Jacob Olsen and Dan Hallan subtly added real depth, and multimedia between scenes was a refreshing layer to the story. 

A great comedy is relatable. Everyone knows someone who is Maggie or Arthur, and everyone can relate to the challenges of watching loved ones grow old. But what Ipswich Musical Theatre Company’s production shows is that love is unshakable, no matter what. 

Aaron Evans