‘flits between trying to be a sitcom and a serious drama without ever managing to satisfactorily be one or the other’
As with its protagonists’ recollections of their mother and upbringing, director Lotte Wareham’s production seems somewhat divided as to whether to be a sitcom or a serious drama, which is a shame because there are some good lines from writer Shelagh Stephenson in here that shouldn’t be forgotten.
Set in the late nineties, and with musical refrains as a distinct nod to the era, three grown-up daughters are coming to terms with the recent loss of their mother (Vicky Binns) whose struggles with dementia are paralleled by their own confused memories of a dysfunctional family childhood.
Teresa, (Victoria Brazier) plays out her self-sacrifice as the eldest child who took on the role of primary carer with little to no support from her sisters, although the arrival of husband, Frank (Reginald Edwards), is enough to suggest that not all about her is sweetness and light.
The baby of the family, Catherine (Helen Flanagan) is immature and inappropriate with her behaviour given any opportunity, clearly belying her thirty-three years.
The middle child, Mary (Polly Lister), is very much at the heart of the play, the one who on the surface has succeeded yet beneath the veneer is plagued with doubts, none more so than with the arrival of her married lover Mike (Charlie de Melo).
Occupying different spaces in their lives and physically on stage, when they are thrust together, ever-present neuroses collide with surreal re-imaginations of their youth.
In a co-production between Liverpool Everyman and Octagon Theatre Bolton as a 30th anniversary revival of an Olivier-award winning comedy, it’s difficult to know whether it’s the writing not aging well or the directorial interpretation – or a combination of the two – that contributes to the overall confusion as it flits between trying to be a sitcom and a serious drama without ever satisfactorily managing to be one or the other.
There are some key issues touched upon but just as these begin to add real tension, the play veers off for laughs which means we never get resolution, and far too often significant reveals are glossed over and far too easily dismissed.
Cast performances are fine although some over the top moments are grating. I particularly enjoyed the scenes between Lister and de Melo, the writing of which provided the necessary depth for their stronger performances, whilst Edwards, when the script afforded him sufficient material to work with, showed what a fine actor he is. Ultimately the question is raised as to whether television celebrity is an acceptable compromise to sell tickets.
The real success lay in Katie Scott’s inspired set design, with the room in a stripped away house, until recently occupied by the mother, literally coming apart at its seams due to its proximity to the shoreline, its cracks ever-deepening like the sisters’ lives as their own foundations – their memories – are similarly washed away: powerful stuff.
The Memory of Water plays at Liverpool Everyman through to 14th March 2026. Further information and booking at https://everymanplayhouse.com/event/the-memory-of-water/
Review Date: 26th February 2026
Star Rating: THREE