Roots by Arnold Wesker
Diorama Arts Centre, March 2001

Though written nearly 40 years ago Roots by Arnold Wesker has retained its relevance in this modern world. As time and technology seem to accelerate away beyond our control so the remnants of what this world used to be, even within this writers lifetime, are faintly recognisable, perhaps in physical architecture alone. What will be recognisable in another twenty-one years time is a frightening thought.

Roots is a healthy reminder to us young city dwellers that the rates of change we experience are not universal. Being born into this techno-holic world, with increased access to higher education and a seemingly innate understanding of email, creates as great a divide between generations as packing your bags and heading to where the streets are paved with gold for three years. That Roots is then set in recognisable and homely front room/kitchens, focusing on innocent family members and a prodigal child (Beatie), head full of revolutionary ideas and visions of a better world, stands it in good stead as a modern 21st century parable despite its connections with the past; because of its connections with the past.

Sarah Dickenson’s choice of play was matched by her driving direction, which gave the play pace and a sense of unwavering immediacy. Characters stood out well as both family members and individuals and that can only be down to focused direction mixed with a hard working cast.

Whilst trying not to lay praise at the feet of any individuals, mention must be made of Jo Briley and Tracey Pocock’s partnership as Beatie and Mrs Bryant (Beatie’s mother). The constant friction and love that was portrayed within the ongoing relationship lasted throughout the entire performance and remained unresolved, as might be expected with Mrs Bryant.

Jon Bently, Trevor Ellis, Claire Lusted, Sophie Roberts and Piers Wehner all gave light and texture to the rest of the Bryant/Beales family members creating studied insights into all of the relationships and providing solid foundations for the confrontations that were to be witnessed in the finale. Jonathan Fawkner’s Mr Healy was brief but appreciated in its understatement; so many others might have milked it for all it was worth. The character of Stan Man, as played by David Stead, was also excellently pathetic.

Mention must be made of David Illari’s stark but holistically encapsulating set design and Paul Gaskell’s lighting design was effective but unintrusive, as were the stage management team of Jonas Chau, Sophia Warner which is the mark of any well organised team.

All in all an excellent work from everyone involved, giving rise to a piece that was as engaging as it was entertaining as it was intellectually stimulating.