On Religion…

The thought of going to a ‘topical’ or ‘theme’ play usually makes me want to wretch. Actually that’s an understatement. Imagine how the average Daily Mail reader would react to a bukkake film featuring a Princess Diana lookalike and you have a better idea of how it makes me feel.

I’ve seen too many earnest plays exploring the whys and wherefores of murders, rapists, extremists and the like that are both glib in their examination and pat in their conclusions. David Hare and his verbatim theatre plays on topical subjects are one of the few exceptions to this because he’s an excellent writer and far too intelligent to come down on the easy side of the glib answer. But the rest of them? Urghh!

On Religion at Soho Theatre, however, is a timely play discussing religious fanaticism and faith that succeeds on every level.

Written by Mick Gordon, one-time associate director at the National, and philosophy professor AC Grayling it describes itself as a ‘theatre essay’. But don’t be put off. It’s academic meat in no way detracts from a thoroughly absorbing 90 minutes.

The play examines the whole issue of faith and religious idealism through a family of staunch anti-religion figurehead and university lecturer mother Grace, stoic Jewish dad Tony, one-time lawyer-turned-priest son Tom and his pregnant girlfriend Ruth. And it’s through the interaction of these four characters after a tragic death that discussions on faith and religion emerge and various arguments are wrestled with.

Gemma Jones brings intellectual muscle and conviction to the role of Grace, Elliot Levey is convincing as the son Tom who turns his back on defending the guilty to argue for a more understanding religion, and Priyanga Burford is superb as the girlfriend caught in the middle of the warring family.

For me the best performance was that of Pip Donaghy as the understanding and stoic father Tom, who acts as the touchstone of love and tolerance for the family. But it’s very much an ensemble piece where each works off the other in a beautifully orchestrated manner.

It’s a very human play about a very complex issue and it succeeds as a theoretical discussion, a highly wrought and emotional piece of drama and a cleverly directed play.

On Religion does what good theatre should do. It engages the brain and engages the emotions and it asks questions and avoids easy answers. It’s the best play in London this year (and probably next year too as it ends on the 6th of January 2007).

Worth £12.50 of anybody’s money.