This week, David Simper headed to the Grand Theatre studio’s intimate surroundings to watch, Kailey, an original play tackling the impact of imprisoned parents on the family they leave behind.
While the theme seemed grim, the play was presented in an engaging way. The set consisted of an illuminated square frame as a backdrop to a square table with three chairs. A small lighting rig was standing to each side. Music was playing as we entered the venue and music was to continue to play a strong role in the production.
The subject is personal to writer and producer, Kerry Wright, who has experience of the issues explored:
“I’m incredibly proud to share Kailey and this story is deeply personal to me, when I was a teenager and both my parents were in prison. I felt isolated, judged, and largely invisible. It’s an experience thousands of young people are facing in silence.”
With this context, a fairly visceral experience seems guaranteed and the production does not disappoint.
Kailey’s mum has got four years for a crime that’s never divulged. The sentence length means she cannot be let out with a tag, even though there’s no hint she’s been violent. It’s natural that with her family in Bradford, she should be incarcerated a five hour coach trip away in London. There is a strong line in casual, institutional cruelty here that is hardly likely to foster rehabilitation.
While mum adjusts to prison life, her eighteen year old daughter, barely an adult, must survive with no support other than some fairly dodgy relatives and her own strength, while planning to see and support mum over what is a considerable length of time.
This is played out as a three-hander with one actor switching between roles with admirable skill. The play is single act with many short scenes, the transition in the minimalist set managed with lighting and sound.
Inevitably a measure of alcohol abuse comes into play, a hand swab drug test is failed, even though there’s been no actual consumption. A truly abusive male firstly seems nice and supportive. The strain inevitably tells on health, education and friendships. Friendship and final understanding is important here. Kailey is no slacker and works for her living, but work in a nightclub at that level will never pay the way.
This is played out as a three-hander with one actor switching between roles with admirable skill. The play is single act with many short scenes, the transition in the minimalist set managed with lighting and sound. As noted above, music and the play’s soundscape plays a key role in supporting the narrative. The latter is linear, despite the venue changes; the story structure is really quite traditional. Things seem to be going steadily downhill, but friendship wins out. If only the incarceration hadn’t made it all necessary.
The acting was finely tuned and convincing. I noticed a number of Pinteresque pauses scattered through that production; maybe they weren’t that long. No need to rush through.
There seems to be a move to more community-based penalties in the criminal justice system, which I understand might be more effective in reducing re-offending and certainly be less expensive for an over-stretched state. Perhaps this policy will address some of the issues raised in this play. It’s a fine piece of work, well worthy of your time.
The tour continues up to 25th March 2026, leaving Blackpool’s one night performance, to carry onto the Red Ladder Theatre.
Photography Credits: Anthony Robling
