TWSS’ Ruby Smith reviews Bristol Spotlight’s newest production.

Spotlight’s newest production, Staying Afloat, transports the tired, flu-ridden uni student into a sun-soaked memory of family holidays past. Mr and Mrs Watson arrive to Del Recuerdos resort, the site of many happy (and not so) memories. They carry the task of telling their daughter, Phillipa, life changing news. As tensions in the family rise, so do tempers in the resort. We witness hotel manager, Terry, desperately cling onto his failing business – in major sacrifice of those closest to him.

As the Watson’s time at the resort lengthens, they struggle to reveal the truth to the daughter. This leads to awkwardly hilarious dynamics and fantastically funny performances. At times I almost felt bad for how long the actors had to pause for laughter.

Phillipa (Abby Marles) is sick of her parents’ visit from the moment they arrive. She is preoccupied with navigating her own place in the resort. Working as an activity co-ordinator, she unsuccessfully tries to fit in by befriending Terry’s effortlessly cool daughter, Rosa (Honey Gawn-Hopkins).

The dynamic between the two girls is interesting. Each girl carries complicated baggage stemming from the presence of their parents. Their friendship is not easily formed. The theme of parental influence is explored well throughout the play and offers thought provoking questions about the nature of responsibility and heritage.

But despite their tensions, positive consequences do arise. Rosa encourages Phillipa to question things about herself, specifically her perception of her family. I particularly loved the scene between Rosa and Michelle, Phillipa’s mother. This moment of genuine connection was portrayed beautifully by the actresses, as Michelle recognises her younger self in Rosa, which she has lost in the occupation of motherhood. Phillipa’s intrusion at the end of the scene depicts an interesting expression of jealousy as both the women she is so distanced from connect with one another so easily.

A story based in the complications of family dynamics, it’s the play’s subtext that has the most to say. The first act is fiery and hilarious. James Ogilvie’s portrayal of Terry left the audience with little breaks between belly laughs. His strange and slightly unsettling demeanour dressed up in a Hawaiian shirt and suit jacket will resonate with anyone who has stories of an unhinged boss. Despite his role as comedic relief, his character is more than just a plot device. In a confrontational ending, the audience are forced to reconsider what they previously took as light-hearted flirtations, realising they created sinister pattern of behaviour. A nuanced mediation in our attitude toward inappropriate workplace conduct.

Establishing the dynamic between the Watsons is interesting. Terry, played by Andrew Graham, is a father and a husband who is seemingly more invested in works of philosophers than his family around him. Despite initial fears that he might be little more than just a meek-mannered man, rendered victim to his brash wife, Lily Walker’s clever writing plays on your preconception and inverts this complicated dynamic. Terry’s inability to act becomes the relationship’s foil.

Grace McGee’s portrayal of Michelle is truly breathtaking; a sentiment shared with everybody I enjoyed the play with. Our first impression is of a confident woman, who maybe says too much, but all in the name of fun. However, her complexity runs deeper. Incited by the events around her, she is forced to confront the complexities of being a ‘mother’. The writing and performance pose interesting questions about what mothers and wives are expected to accept in the behaviour from their family members. I couldn’t help but be reminded of the quote by Bonnie Burstow:

‘Often father and daughter look down on mother (woman) together. They exchange meaningful glances when she misses a point. They agree that she is not bright as they are, cannot reason as they do. This collusion does not save the daughter from the mother’s fate.’

In the second and more emotional act we see Michelle confront this feeling. The confident mask falls and we understand a woman who has lost her true identity for the sake of raising a family. This nuanced and deeply well-thought-out portrayal of motherhood came across so beautifully on stage. I think the relationships between all the women in the play offer representation of the different kind of female friendships, or even non-friendships, we come across in our lives.