There's something deliciously uncomfortable about watching other people's family drama unfold, and Houses Apart at The Cockpit Theatre delivers this voyeuristic pleasure in spades. This tightly crafted hour-long play transforms what could have been a predictable inheritance tale into something far more complex but funny experience.
The premise is simple: a father's sudden death forces his five estranged adult children back into the family home for the first time in years. What begins as an awkward reunion quickly spirals into something far more entertaining as old grievances bubble up and family secrets tumble out in increasingly absurd ways. The question isn't whether they'll air their dirty laundry before the meal (or the bruschette) goes cold, but whether anyone will maintain their dignity in the process.
Alexandra Rizkallah's direction keeps the comedy flowing while preventing the chaos from becoming complete mayhem. The round staging at The Cockpit creates an intimate atmosphere that makes the audience feel like they're eavesdropping on a dysfunctional family gathering. We become complicit observers of this delightfully awkward night, watching the Bennett family's pretences crumble in real time.
The five actors – Faith Foakes, Imogen Peck, Malcolm Webb, Mika Rontti, and Viola Rizzardi Penalosa – bring infectious energy to their roles, clearly relishing the opportunity to play deeply flawed but recognisable characters. While the siblings occasionally blend together in their shared neuroses, each performer finds distinctive moments to showcase their character's particular quirks and defensiveness. The performances are at their strongest when the actors embrace the script's more absurd moments, though they handle the quieter beats with equal skill.
What elevates Houses Apart beyond typical family dysfunction fare is its genuine interest in exploring how parental absence – both physical and emotional – shapes adult identity. The play doesn't offer easy answers about family loyalty or forgiveness, instead presenting the messy reality of people trying to make sense of their shared history while protecting their individual wounds. There's real wisdom in the writing about the invisible threads that bind siblings together, even when they'd rather cut themselves free.
The production occasionally gets carried away with its own enthusiasm, with moments where the ensemble's spirited banter threatens to overwhelm the dialogue. Yet these instances feel authentic to the experience of family arguments, where everyone talks at once and nobody really listens. Rizkallah manages to keep these scenes from completely derailing the comedy, maintaining enough structure to ensure the jokes land while preserving the delightful chaos of sibling rivalry.
At its core, this is a story about legacy – not just what we inherit materially, but the emotional patterns and psychological scars passed down through generations. The Bennett siblings are all products of their father's failures, yet they're also fighting to become something more than his limitations. It's this tension between determinism and agency that gives the play its emotional weight.
Houses Apart succeeds because it finds the humour in family dysfunction without losing sight of what makes these relationships matter. It's clever enough to surprise you but warm enough to remind you why we put up with our relatives in the first place. For fringe theatre enthusiasts looking for smart comedy with genuine heart, this family reunion hits all the right notes.
Photos: Dexter Robinson