Written by Frances Poet
Directed by Jenni Mason and Angela Orr
Review by Dominic Corr
The difference between a house and a home is as thin a line as can be – but it makes a world of difference. When their home begins to feel like a house, Gwen looks back to when the place was substantially less crowded. The Capaldi’s (no relation) have a football-team-sized family, and things get more complicated as the kids grow in size, appetite, and hormones. But this is no Cheaper by the Dozen; the issues facing the family in France Poet’s new play are authentic – and the decisions made and actions taken are resoundingly familiar for families across Scotland.
In a resoundingly grounded and effective performance from Amy Gallagher, Gwen has had enough of playing the child-minder, taxi, librarian, chef, and all-around de-facto parent for their eight younger siblings. Especially as they reach 18, and they aren’t going to be trapped as a surrogate parent forever. Heading for Inverness on the eve of her birthday (shared with younger twins Billie and Ariana), Poet’s family-based comedic drama puts the young performers of PACE Theatre Company at the heart of the show. Gallagher, a past member of PACE, brings heart, comedy, and a wealth of understanding to the performance – working well against Heron and the remainder of the cast under Jenni Mason and Angela Orr’s direction.
However, it isn’t the lack of care or dedication from Mum and Dad Donna and Gordon (Dani Heron and Santino Smith) that puts Gwen in this position. The pair capture a natural pair of hard-working parents trying their best; the love for their nine kids never once questioned, Heron and Smith delivering strong performances – Heron’s gradual desperations building into a harrowing moment as a mum desperate to find their daughter, and yet still balancing the kids back at home, birthdays, and spinach and chickpea dinners.
Fraser Lappin’s clean and practical set design initially seems bare. Still, it works as the perfect canvas for attention to focus on the performance, enriched with Katharine William’s lighting, which flourishes and fills the space on the blank-canvas set, which offers multiple hide-aways and levels for the cast to put to practical use without distraction from the emotion and drama, particularly in providing platforms for the more critical side-narratives, like Gwen’s younger brother Drake’s confusions and relationship with new pal Serena, new to Paisley, and struggling with finding their place in a new place, while conflicted with their own identity. The scenes with Mya Cooper (Serena) and Jamie-Reece Lyle (Drake) are charming and well-structured with character revelations, the pair possessing a genuine sense of camaraderie and need for support, and a strong sense of humour and back-and-forth with the younger cast.
Across the board, directors Jenni Mason and Angela Orr get the best from the large youth cast; each strength homed in on. Whether that be Tate Lowther’s extensive peacocking vocabulary as brain-box Ed, Teigan Melody McDonald and Lauren Wilkie’s finishing one another’s sentences as Katy and Adele, Martha Ludlow’s high-energy and snippy remarks as Taylor, or Massimo Pignatiello’s frantic energy as Justin. But it’s the youngest pair, Alice Orrand Maria McDowell, as twins Billie and Ariana, who rob the best gags of the night – their timing impressive, and commitment strong. The youth team gives their all, making the adult cast bounce back with equal enthusiasm – none more so than JJ Hay as Theo, apprentice decorator and roped-in babysitter who absolutely gets the fun and silliness in Poet’s script.
Speaking directly to a Paisley audience, There Is No Room In Our Bathroom for Lewis Capaldi still captures the struggles and benefits of a large family life across Scotland. And it does so beautifully with plenty of humour and intimate moments, some of which could even do with being dialled up in the pathos and hurt – occasionally meaning some of the more prominent characters don’t have a real chance to shine. With a terrific opening performance in the newly refurbished space, there’s no question that tremendous additions to Scottish theatre’s future will emerge from this space – and likely, with a few of these talented faces of tomorrow in starring roles.
Review by Dominic Corr (contact@corrblimey.uk)
Lead editor of Corr Blimey and a freelance critic for Scottish publications, Dominic has written for and contributed to several established and respected publications such as BBC Radio Scotland, The Scotsman, The List, The Skinny, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, and The Wee Review. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
