The family divisions are there in every generation.  Constance’s mother Edith (Carol Macready) is a widow and worships the memory of her husband by cradling his overcoat, whom Constance remembers as a cruel man who abused her physically by beating her with the metal buckle of a leather belt.  She throws the precious coat on the floor and stamps on it.  Edith tries to get Jack to wear the coat but as it symbolises everything Constance resents, she tells them to take it off.  The imagery reminded me about the play when the overcoat is an honoured dinner guest but here the coat is remembered pain. 

Constance hasn’t just been abused by her father.  Passing the 11 plus, she wasn’t allowed to go to the grammar school because he refused to pay for the uniform.  Edith says they couldn’t afford it.  Constance says he had money for beer and cigarettes. So she has a life of restrictions and denied promise, projecting her resentment of her father on to her husband.   

Agnes (Kelly Gough) identifies with her father Alistair and fights with Jack who is his mother’s boy.  Stuart and Constance spend much of the play arguing or not speaking to each other.  Constance says to Agnes, “Ask your father how many rashers of bacon, he wants?”   Constance dreams of being a night club singer and breaking free from her life of toil.  She is happiest relating to Hollywood film stars like Bette Davies. 

There is an audible gasp in the much shorter second act as one secret is revealed, one that has hung over this family for years.  The first act is one hour 50 minutes long and quite dense with wordy debate.  In the 70s Constance has met an impresario (Mark Meadows) whom she hopes will launch her singing career. Towards the end of her life, Constance is in a hospital bed played by Carol Macready.

Anna Fleischle’s set has a backdrop of old industrial factory wall and in front is a 1960s kitchen and kitchen table.  Constance’s dressed up scenes are excitingly lit to highlight her spangles and glittering frock.

Blanche McIntyre is an exciting director and Beth Steel’s slow burn play will set your mind whirring with its interrelated themes of family priorities.   The ensemble performances are sound but Anne-Marie Duff’s portrayal of Constance doesn’t shy away from the unpalatable.  Although the play ends on a note that family are important, what has gone before is schism.    This is the play all America needs to see.