Jumpy

Hilary (Jane Turner) is dealing with a lot: coming to terms with being in her 50s, the unstable economic situation, a marriage that isn’t what it used to be, and most of all, her difficult 15-year-old daughter, Tilly (Puberty Blues’ Brenna Harding).

April De Angelis weaves sharp observations, prickly emotions and laugh-out-loud physical and verbal humour into her script, which is brought to life by Pamela Rabe’s deft direction and the stellar cast – Turner’s performance in particular nailing that precarious balancing point right between sheer frustration teetering on breakdown territory and goofy, silly moments. Marina Prior’s flirty Frances (Hilary’s ‘empowered woman’ friend) is a hoot and delivers one of the most memorable dance scenes of late.

Michael Hankin’s innovative set design elevates the experience immensely. Props, pieces and furniture enter from one side of the stage and exit on the other for the next scene by way of motorised guide tracks – they not only look impressive and smooth, but allow Turner to incorporate the transitions into her character; often being surprised and alarmed when she has to hop off the couch to run over and meet the bed that’s pulling to a stop. It’s symbolic, too, of the lack of control Hilary feels over her life; she keeps getting pushed into the next thing whether she’s ready for it or not. Things come and go and make their way back around, as with reality; we could be watching an interpretation of any number of people’s lives – except Jumpy’s probably funnier.

The Sumner, Southbank Theatre to 14 Mar