The subject matter of Fathers Rights has the potential to spark heated debate in an overheated theatre. Although some valid points are raised, including questions about custody, and how traditional gender roles within families influence it, the topic fails to truly ignite.
The concept is to use a radio talk show as a meeting point for a group of different men with a shared problem – limited time with their children, after which they might band together to address this grievance. However, only one father’s story is really presented, and the other fathers feel very intentionally written as contrasting men.
Exploring Jason’s story alone is perhaps a saving grace, as Patrick Molyneux gives a stand-out performance, demonstrating real depth in character development aided by the strongest writing in the show. He is a father who deserves our empathy, as he continually strives to put his daughter’s welfare and happiness first, often contrary to his own desires. His speeches are eloquent and performed with truth and clarity, and through him, the playwrights raise interesting questions about what can be done; does a “nuisance in a spiderman suit” allow the public to understand, or pave the way for change? Or is it just a spectacle lost in the ever rolling news-cycle?
Sarah Kempton is particularly watchable as Mary, bringing warmth and tolerance to the role. Her relationship with Jason is utterly convincing, and they share a credible intimacy.
The other fathers, despite their biblical names, are far from holy. Rather, they appear quite selfish in their plight. Their often stilted interactions focuses on their status as wronged being redressed, without mention of their children’s best interests, happiness, or even names.
The production featured some confusing choices, not least the pantomimic barmaid in an otherwise naturalistic play, made more perplexing by the same actress’ far superior performance as Jason’s ex. However, the worst decision lies in the frequent, cumbersome scene changes, accompanied by snatches of repeated music. The set was not altered significantly enough to warrant these distracting interruptions, and the production would really have benefitted from the greater pace which they might have created without them.
Unfortunately this production didn’t fulfil the potential afforded by the challenging subject, but it is thought-provoking, and the two strongest performances are impressive.
