Bringing to a close Matthew Parker’s critically acclaimed tenure at The Hope, The House of Yes is a jet-black comedy drama that very much sees the theatre’s outgoing artistic director leave with a bang. Deeply twisted in a variety of ways, Wendy MacLeod’s story of the dysfunctional Pascal family is both horrifying and hilarious, and in this production it’s performed exquisitely by the cast of five.
It’s Thanksgiving, and Marty (Fergus Leathem) is bringing his fiancée Lesly (Kaya Bucholc) home to meet the family. The problem? His family… By their own admission, the Pascals have never had a guest before, and it’s unlikely they’ll ever have one again once the dust settles on this particularly eventful 24 hours. Marty’s twin sister Jackie-O (Colette Eaton) has two obsessions: her namesake, the former First Lady; and – unfortunately for him – Marty. Younger brother Anthony (Bart Lambert) is a college dropout whose eye falls rather too enthusiastically on his brother’s future wife. And through it all, their mother (Gill King), a self-professed “free spirit”, wafts around the house, seemingly taking little interest in her children’s lives… but in reality paying just a bit too much attention to what they’re getting up to.
What’s particularly enjoyable about this production is the care each actor puts into their performance. It’s impossible to choose a standout performance when each of them is so captivating. Every detail – the way a line is delivered, the movements and gestures, the facial expressions and eye rolls – feels perfectly timed and judged. The characters are, to put it kindly, not normal people – and yet somehow they come across as three-dimensional and 100% believable, particularly in the setting of their gloomy, claustrophobic house, with the power out and a hurricane raging outside. Rachael Ryan’s set design perfectly captures the essence of a home whose former splendour has now well and truly faded, even if that message hasn’t quite reached the Pascals themselves. It’s all a bit Addams Family meets Hotel California; both house and residents seem to have a way of ensnaring those who step inside, and the thought of anyone ever leaving becomes increasingly remote as the evening goes on.
As hard as it may be to believe, this dark and twisted tale is also very funny, despite that constant creeping sense that all will not end well. Much of our laughter is the result of surprise; these are characters who just say whatever’s on their mind, whether or not it’s considered appropriate – and as dysfunctional as they undeniably all are, there’s something quite refreshing and enjoyable about that openness.
The House of Yes may not be everyone’s cup of tea, but for those who are willing to let themselves be drawn into the Pascals’ crazy little world, there’s so much to enjoy about this expertly put together production. It’s a fitting and suitably offbeat farewell from Matthew Parker, a play that will make you laugh, recoil, and possibly have a nightmare or two. But don’t panic – they do let you out at the end. Honest.
The House of Yes is at The Hope Theatre until 26th October.
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