A Time To Reap, Royal Court Upstairs - review

Young playwright Anna Wakulik explores the contours of Polish society as well as speaking suggestively about women’s rights
p44 28.02 A Time to Reap at the Royal Court Theatre Upstairs Owen Teale as Jan, Sinead Matthews as Marysia, ©Alastair Muir
28 February 2013

A Time to Reap uses abortion as a way of examining the links — in Poland, and perhaps beyond — between religion, private choices and public opinion. Under Communism, abortions were widely available in Poland but since 1993 there have been strict laws, creating a doggedly pro-life culture.

Twentysomething playwright Anna Wakulik explores this in the form of a questioning, quirky three-hander. She was inspired by a workshop that considered how art connects to the Roman Catholic church. It was led by Tadeusz Slobodzianek, whose impressive Our Class was staged at the National Theatre in 2009. Wakulik strikes me as another fresh, provocative Polish voice, albeit clearly influenced by Tony Kushner’s Angels in America.

Her characters, all interestingly drawn, switch between vivid interactions and lyrical commentary. The pivotal figure is Marysia, an emotional small-town girl who seems to have real talent as a raconteur. In Caroline Steinbeis’s production she is given sharp, spirited life by Sinead Matthews.

Her self-appointed guardian angel is gynaecologist Jan (Owen Teale). He finds the younger generation baffling. Meanwhile, his son Piotr embodies modernity; when he goes to London he turns into an outrageous hedonist. Max Bennett revels in the role, especially when showing off Piotr’s new life of sushi, cocktails and naff dance moves.

Although the action jumps around, a lot of it is set on August 15, a festival with longstanding traditions — and particular resonance for the Polish army. More recently it has become a Catholic occasion, strongly associated with the Virgin Mary.

This shifting symbolism is typical of a play that says a good deal about the contours of Polish society as well as speaking suggestively (and ambiguously) about women’s rights. But here and there it strains credibility: for instance, how can Piotr have a Tamagotchi in 1989, when that digital pet wasn’t marketed until 1996?

Until March 23 (020 7565 5000, royalcourttheatre.com)

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