THERE’S GOLD IN THESE HILLS
It’s always difficult for the children when a mother passes away, even if those children are adults. And if that mother is a strong-willed widow who struggled and fought to raise her four daughters by herself, supported only by the inconsistent income of running a lower-end, seaside hotel in Blackpool, England during the fifties and sixties – well, such trying circumstances may have made that bond between mother and daughters even stronger. And if that protective and determined mother supported (or coerced) her talented daughters into dreams of singing stardom á la The Andrews Sisters as a way to a better life – well, that close-knit bond may also harbor a few resentments, secrets and regrets.
Ophelia Lovibond (“Ruby”)
Leanne Best (“Gloria”)
In Jez Butterworth’s new play, The Hills of California, which opened Sunday at the Broadhurst Theater following a triumphant run in London’s West End, Mr. Butterworth (The Ferryman, Jerusalem) presents this familial configuration in the guise of the four Webb sisters. With his masterful writing guided by the near-perfect direction of the much lauded Sam Mendes, this epic production impressively delivers in all areas. With phenomenal acting, stunning design elements and an almost three hour running time that feels much shorter, The Hills of California is that unexpected stop at a seaside hotel you didn’t know you needed. While you may not leave refreshed, you might just leave transformed.
Lara McDonnell (“Young Joan”), Laura Donnelly (“Veronica”), and Sophia Ally (“Young Ruby”)
Nicola Turner (“Young Jill”), Nancy Allsop (“Young Gloria”), Lara McDonnell (“Young Joan”),
Sophia Ally (“Young Ruby”), Laura Donnelly (“Veronica”), and Richard Lumsden (“Joe Fogg”)
It’s somewhere in the 1970s on a blisteringly hot day in Blackpool. At the Seaview Luxury Guest House and Spa, now just called Seaview (which is a bit misleading as the borderline rundown property never had a sea view), the elderly Veronica lies dying in an upstairs room, ravaged by cancer. The mother of four daughters, her third child Jill is downstairs. Jill, early 30s and never married, has devoted her life to taking care of her aging, perhaps alcoholic, mother and the hotel itself. She’s the child that never left home yet has a surprisingly upbeat outlook on life, even as she serves as point person for her mother’s end-of-life arrangements.
Laura Donnelly (“Veronica”) and Lara McDonnell (“Young Joan”)
Lara McDonnell (“Young Joan”), Nancy Allsop (“Young Gloria”), and Sophia Ally (“Young Ruby”)
Soon, two more sisters arrive to say their final good-byes; the caustic and domineering second child Gloria and the youngest of the four, Ruby, the cute one. Both sisters have dragged their not exactly harmonious families in tow, which only adds to their respective stress levels in the oppressive heat. Having lived through the disappointments and compromises most people make in life, none of the Webb girls has lived an adulthood anywhere near show business. None of them except for the first-born sister, Joan.
Nancy Allsop (“Young Gloria”), Nicola Turner (“Young Jill”),
Sophia Ally (“Young Ruby”), and Lara McDonnell (“Young Joan”)
David Wilson Barnes (“Luther St. John”), Lara McDonnell (“Young Joan”),
and Laura Donnelly (“Veronica”)
Joan left Blackpool some twenty years ago for America and did have some success as a recording artist. Perhaps not to the sarcastically high levels that Gloria dismissively refers to while discussing her sister, but Joan did gain some following in the California music scene. Actually, none of the sisters know exactly what professional heights Joan attained since, other than very recent communication with Jill regarding their mother, Joan has not been in contact with her family. But according to Jill, Joan is Veronica’s favorite so she will show up to see her mom one last time. She has to. Jill promised her mother that Joan would be there.
Laura Donnelly (“Veronica”)
Ta’Rea Campbell (“Penny”) and Helena Wilson (“Jill”)
As the women continue to talk, with Gloria extremely doubtful Joan will show up, their memories take them back to their childhood in the fifties with their attractive, no-nonsense mother, their beautiful and rebellious older sister and a seaside hotel that was also home. Maybe it wasn’t the easiest of upbringings with their mom constantly drilling harmonies into their heads like a Marine sergeant during basic training, but it wasn’t all bad. So why did Joan leave? Why did she stay away? And will she make it back in time?
Leanne Best (“Gloria”) and Richard Short (“Bill”)
Nicola Turner (“Young Jill”), Nancy Allsop (“Young Gloria”),
Sophia Ally (“Young Ruby”), and Lara McDonnell (“Young Joan”)
Saying end-of-life goodbyes can be difficult and complicated and, in this respect, Butterworth tells a tale about a specific family that, at the core, is universal. This common circumstance drops us into the play and the compelling characterizations and honesty of the writing keep us there. Families do separate, siblings don’t keep in touch and it often takes a life or death situation for a long-held truth to finally be revealed. This authenticity along with the melding of what is essentially a memory play to action in the present (even if that “present” is the 70s) gives us a visceral sense of knowing what created these long-held feelings among the sisters. This juxtaposition also provides an understanding of the relief and anger that accompanies their inevitable expression.
Helena Wilson (“Jill”) and Ophelia Lovibond (“Ruby”)
Nancy Allsop (“Young Gloria”), Nicola Turner (“Young Jill”), Laura Donnelly,
Lara McDonnell (“Young Joan” – facing away), and Sophia Ally (“Young Ruby”)
Along with the superb writing, all the actors are truly terrific. As the sisters Joan, Gloria, Ruby, and Jill, Laura Donnelly, Leanne Best, Ophelia Lovibond and Helena Wilson create distinctive, compelling, honest, funny and multi-layered women that we totally believe as sisters. As their younger counterparts, Lara McDonnell, Nancy Allsop, Sophia Ally and Nicola Turner are also moving and compelling actors. The four also sing well together and are kind of adorable in their knock-off version of the Andrews Sisters. But, as their mom Veronica often reminds them, they are better than the three person Andrews Sisters because they have a back-up sister. (Sorry, Gloria’¦)
Richard Short (“Bill”) and Bryan Dick (“Dennis”)
Helena Wilson (“Jill”), Laura Donnelly (“Joan”), and Ophelia Lovibond (“Ruby”)
It should be noted that Laura Donnelly also portrays their mother, Veronica. Her two portrayals are both so different and impactful, it was shocking to realize they were played by the same actress. Designer Rob Howell impresses with his hotel set that is half realistic/half dreamlike, utilizing staircases that seemingly reach into the heavens. Light Design by Natasha Chivers continues that same real/dream motif, effectively underscoring the malleability of time and memory.
Leanne Best (“Gloria”), Ophelia Lovibond (“Ruby”),
Helena Wilson (“Jill”), and Laura Donnelly (“Joan”)
Laura Donnelly (“Joan”)
There are many laughs in this dense play about a dying parent but The Hills of California also packs a powerful, difficult to watch, devastating punch. There is a reason Joan stayed away. But that doesn’t mean the audience should. Can we ever go home again? Just one way to find out…
photos by Joan Marcus
Helena Wilson (“Jill”)
The Hills of California
The Broadhurst Theatre, 235 W. 44th Street, between 7th Ave 8th Ave
ends on December 22, 2024
for tickets, call 212.239.6200 or visit Telecharge
for more info and tickets, visit The Hills of California
