Relics at Lyric Hammersmith Theatre – review

Historic grievances, both domestic and humanitarian, and the messy, painful aftermath of family bereavement are stock dramatic themes. They get a bleak comic treatment in Ben Ockrent’s new play, premiering at the Lyric Hammersmith in a sensationally acted production by Michael Longhurst.

Relics is wince-makingly funny, but also thoroughly engrossing, as a quartet of contrasting grown-up siblings bicker over the spoils following their mother’s recent death. The barbs and verbal sparring eventually erupt into actual physical violence and, perhaps more bizarrely but hilariously, interpretive dance. Yet, astonishingly, there is nothing in the vivid, exquisitely judged performances and little in Ockrent’s keenly observed writing to strain credulity.

In some ways, Relics feels like a throwback to the sort of well-crafted, small cast, one set, quintessentially middle-class and middle-brow play that used to thrive on Shaftesbury Avenue in the latter half of the last century. There are shades of Ayckbourn, Peter Nicholls and early Frayn in the set-up of eldest offspring Olivia (Sally Phillips in a rare, wonderful stage appearance), mild-mannered middle brother Rob (Sam Swainsbury, detailed and delightful) and sardonic youngest sister Michelle (a winningly stroppy Charly Clive) discussing the family estate ahead of the arrival of their more tempestuous sibling, suavely self-serving but unreliable Jonny (JJ Feild).

The dialogue is crisp and amusing, and the characters’ flaws and insecurities are skilfully teased out: the word “Fragile” emblazoned across set designer Joanna Scotcher’s front curtain applies as much to this fractious bunch as it does to the boxes of valuables they’re in the process of parcelling up.

Like Ayckbourn and indeed the master farceurs (although Relics is no farce), Ockrent is adept at setting up various objects and plot points early on, only to detonate them with satisfying results later in the play. He also displays an unerring understanding of family dynamics, of the long-standing resentments and petty annoyances that can escalate into full-scale war if not kept in check.

The way these apparently sophisticated adults revert to childlike point-scoring and game-playing when reunited under the family roof is huge fun to observe, but also feels accurate: note how Feild’s brilliantly observed chancer Jonny goes full truculent, sulky teenager when challenged, or perpetual people-pleaser Rob coos “It’s so heavy. It must be all the chakras!” when handed his deceased mother’s now-redundant healing crystal.

The plot turns on a great-grandfather passing down what may be a lost work by Impressionist painter Camille Pissarro, the dubious way it was procured, and the ethics of selling it on for a jaw-dropping sum of money. Unsurprisingly, Jonny is all about making as much out of it as possible, and has even had a valuer in, while more sensitive but subtly controlling Olivia wants to take the moral high ground (“We are good people! We don’t do things like this!”). Although it turns out the reasons for her reservations are more complex than they first appear.

As arguments are laid out and allegiances defined and tested, Relics moves beyond sitcom humour towards something genuinely riveting. Longhurst is a fine, inventive director, but there are a couple of moments where the staging seems flashy purely for the sake of it, and the oft-repeated device of blocking all four characters to stand alongside each other while having a discussion is surprisingly clumsy. The pace and rhythms are spot-on though, and there’s not a false note in the acting.

Relics is terrific entertainment that is also about something urgent and relatable. It deserves to be a huge popular hit, and I wouldn’t be surprised to see it popping up in regional theatres in years to come, although future casts will face quite the challenge trying to match this stellar original team.