The National Theatre’s acclaimed production of Till the Stars Come Down has opened in style at Theatre Royal Haymarket in the heart of the West End.
It must be said that weddings can bring out the worst in people. All those old family tensions and unresolved sibling rivalries come bursting forth under the potent combination of forced smiles, high heels, Spanx – and too much to drink.
Today it’s Sylvia and Marek who are tying the knot. Sinéad Matthews again plays Sylvia, the bride who desperately wants everything to go right despite the family stresses. Julian Kostov, a new addition to the cast, is quietly convincing as Marek, her Polish groom. Marek is hard-working and ambitious, and frustrated by the attitudes of his new in-laws.
Till the Stars Come Down: foul mouths and unwanted opinions
The play opens with the usual wedding day dramas as the bride gets ready with her sisters Hazel and Maggie. There are back stories here that we don’t always quite understand and that manifest as frustration and resentment. The mood changes when Aunty Carol bursts in with her foul mouth and unwanted opinions. Dorothy Atkinson gives her all and more as Aunty Carol, strutting about the stage like a caged lion and delivering her lines with a winning combination of panache and poison.
There are some quieter and more reflective moments too, especially in the scenes with the sisters’ widowed dad, played with feeling by Alan Williams. It would be nice to get to know his character better and learn more about their mum – clearly her death left deep scars on the three sisters. Aunty Carol is fond of saying she’s been like a mum to her nieces, but they don’t seem to entirely agree with her on this.
Till the Stars Come Down: innately authentic
Director Bijan Sheibani gets the most from his ensemble, keeping the performances feeling real. This gives the production an innate authenticity. Sound designer Gareth Fry ensures the music helps set the mood throughout, from the typical cheesy wedding hits to some more lyrical classical moments. The mood changes in the more piercing second act, and the final scene seems to appear out of nowhere.
This all takes place on a deceptively simple set designed by Samal Blak with a central revolve and a large disco ball. There is some audience seating on the stage, which is really just a distraction. The production would work in a full ‘in the round’ space, but this hybrid arrangement just feels a little awkward.
Beth Steel’s script tackles many of the issues that are taxing the UK today, such as casual xenophobia, migration and integration, and the fate of old industrial ‘up north’ towns where people are still struggling for a sense of self after the loss of the mines and industry. The play is set in the summer of 2023, but these are issues that have plagued these working-class towns for 50 years or more – this could just as easily be Thatcher’s UK as the post-COVID community.
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At its heart, Till the Stars Come Down is a deeply-felt wedding drama with very strong performances. The actors give it a warm glow even when their characters are difficult and dislikeable. There are some apparent tonal discords here, with the script veering uncertainly between cutting drama and perceptive comedy, but perhaps that’s its strength too. People are imperfect, relationships change and life is messy. The play may seem a bit raw, but it’s alive and vibrant and full of strong performances. It feels real and that’s quite an achievement.
Till The Stars Come Down
National Theatre
Theatre Royal Haymarket
Writer: Beth Steel
Director: Bijan Sheibani
Set and Costume Designer: Samal Blak
Lighting Designer: Paule Constable
Choreographer & movement director: Aline David
Sound Designer: Gareth Fry
Revival Director: Elin Schofield
Cast: Dorothy Atkinson, Lucy Black, Adrian Bower, Julian Kostov, Aisling Loftus, Sinéad Matthews, Ruby Thompson, Philip Whitchurch, Alan Williams, Lillie Babb, Elodie Blomfield, Cadence Williams, Tony Bell, Rachel Marwood, Lee Rufford, Holly Sumpton
Till The Stars Come Down will be performed until 27 September 2025.
