Lavender, Hyacinth, Violet, Yew - Bush Theatre

Role models from a lost generation

Photography - Helen Murray

★★★★☆

The Bush Theatre is up to its usual tricks in presenting yet another timely yet exquisite production. Once again programming works that speak to a broad array of people, yet manages to land personal and impactful storytelling at every turn, this time with Coral Wylie’s, new homegrown play. It is brilliant to see a theatre backing those that have found their voice within the building, Wylie being an alumnus of the Bush’s young company and an alumni of the theatre’s emerging writer programme - this is how it is done and boy does it show in this production. 

Pip (played by writer Wylie) is still carving out a space for themselves in the world, having prematurely left university and still attempting to educate their parents on their gender and sexual identities they are unsure of the road ahead. When Pip’s mum gifts them a brilliantly vintage 80s coat that belonged to their parents’ departed friend Duncan, Pip discovers a diary in its pocket full of a life they did not know about and a version of their parents they do not recognise. 

Wylie’s play, despite existing in sad circumstances, is truly a joyful and empathetic experience to witness. It is honest and tender but innately funny, using humour to cut through the sadness left behind by loss. The piece jumps between the present day and the late 80s and early 90s as they explore the entries in Duncan’s diary and we get to see their parents, much younger now and their life with their best friend. We see Craig, Pip’s dad being an an absolute ally, partying with Duncan for Europride 1992, and offering to be his taxi service for the inevitable 1993 outing and heartfelt moments between Pip’s mum, Lorin as she tells Duncan she is pregnant. These happy moments are underscored by the worsening of Duncan’s health, him being a victim of the 1980s/90s AIDs crisis.

Omari Douglas encapsulates Duncan’s energy sublimely. He is effortlessly quick-witted and so natural in his portrayal. His presence haunts the scenes he does not appear in and steals the scenes he is in. Wylie’s script in tandem with Douglas’s performance is a match made in heaven. Wylie finds depth in their writing, unable to contain their excitement when realising the path they were forging has been trodden before. Pip’s innocence collides with their confident exterior and we are treated to a maturing of their character as they cross boundaries that have never been discussed in the family home. 

Pooky Quesnel and Wil Johnson do an excellent job of playing the present-day and younger versions of Pip’s parents. Their youthfulness is evident in the scenes with Duncan, caring and openminded, but as we learn the history their guarded and reactive, parental protectiveness is both understandable and organic. The chemistry on stage from all participants is strong and believable as they work together to tell this story. 

There is clever use of colour in Max Johns’s set. The stage is initially void of colour, existing as a blank white canvas before the coat that triggers the play arrives and bursts colour into the proceedings. The nothingness of the set seeks to represent the unspoken conversations and the papered-over cracks and it does so brilliantly, full colour only arriving at the play’s conclusion. 

This is a well-thought-out and directed production, the creative decisions and performances work well together and the final result is one to be cherished. It will undoubtedly move audiences during its run and it is Wylie’s radiant script that acts as a catalyst - this is a writer watch in the future. A profound and vivid production, in classic Bush Theatre style. 

Running until 22nd March - Tickets

Photography - Helen Murray