Presented by Good Time Theatrics and JB Theatre Co

Emotionally gripping, ‘Snowflake’ serves up a hefty conversation on political discourse and a resonating message on the shifting political scene’s invasion of our everyday lives.

Reviewed by Justin Clarke
Old Fitz Theatre, Woolloomooloo
Until 22nd December, 2024
Tickets: https://www.oldfitztheatre.com.au/snowflake

Two things that don’t make for healthy conversation at Christmas: politics and religion. Mike Bartlett’s Snowflake focuses on mixing the former with a holiday season setting. Centering on a political chasm that shifted generations and class in the United Kingdom, Brexit, Snowflake is a play about the uncomfortable conversations we have between family and ultimately, the ever growing generational divide that threatens to swallow society whole.

Andy (James Lugton) hasn’t seen his daughter, Maya (Claudia Elbourne) in three years after the results of the Brexit decision caused a rift between them that Andy struggles to comprehend. His last hope is a grand gesture on neutral ground, which causes him to hire the local Church hall to welcome home Maya. When an eager and energetic young woman who isn’t his daughter, Natalie (Lilian Alejandra Valverde), bursts in to collect some crockery for a Christmas do, the two end up delving into an unexpected exploration of the tension that tore the relationship in two.

Whilst Snowflake keeps returning to the ‘Remain’ and ‘Leave’ decision that decided the fate of the UK in its course within modern history, the play’s values of political discourse have the capacity to resonate closer to home. Whilst Peter Dutton whines and complains about flags, instead of confronting systemic racism being the force dividing us, the air of the discourse of the 2023 referendum reverberates between the lines of Bartlett’s play on home soil.

Director Jo Bradley is tasked with walking the tightrope that is the overall tension between the three characters, as well as the generational political discourse that is explored throughout. At times, it’s gripping. At others, it drifts, relying on the actors to do a deal of the heavy lifting amidst unnatural direction for its characters’ momentum. But with actors as talented as the three we are gifted with, the language of the play is in safe hands.

The potential that these discussions, ideas and values have to invade our family structures is laid before us.

Throughout Luna Ng’s lighting is subtle, aiming for understated but shifting sporadically. At some moments it carves out moments of isolation, whilst others it seems to brighten unresponsive to the action taking place on stage.

Soham Apte’s set design is left simplistic, with the gift Andy makes for Maya’s return hidden behind curtains, taking up a hefty amount of unnecessary space. The final image however, courtesy of Ng’s lighting design will bring holiday tears to your eyes. 

As Andy, Lugton is gripping and honest. He represents a man who is anchored in the past. An historian at the Oxford museum, his values and ethics continue to reflect on the past, unable to see the present and the future he is losing. Lugton’s journey to see the fault in the breakdown with Maya is central to the play, with Bartlett teetering on didactic conversations surrounding the largest and most influential voters that wish to hold onto history with an iron grip.

On the other end of the political divide, Elbourne is young and hopeful, scared of being enveloped by a father who is unwilling to shift for her morals and values. In lesser hands, Maya could very easily embody the moniker of the show’s title. Thankfully, Elbourne manages to steer her clear of landing in this territory, instead crafting Maya to be hungry for change and wanting to be as resolute as her father in the values she sees as best fitting her future.

Caught, quite literally, in the middle of the two sides, Valverde’s Natalie is astounding. The east London accent is difficult to nail at the best of times, but Valverde’s never falters nor lands into a stereotype and instead embodies Bartlett’s vision of the middle ground we should hope to be. Whilst at times Andy is symbolic of the far right, and Maya of the far left, Natalie is the middle ground, willing to listen and demanding the same in return. 

At a time of the year when Christmas miracles can happen, the hope that we are left with at the end of Snowflake will induce tears. We’re left with a hefty slice of realism that tells of the important conversations we need as large political ripples shape the western world. The potential that these discussions, ideas and values have to invade our family structures is laid before us when neither side refuses to budge. It’s emotionally gripping stuff and one to put in your Christmas stocking this festive season.

Cast and Creative Team
Playwright: Mike Bartlett
Director: Jo Bradley
Producers: Kurtis Laing & Jo Bradley
Assistant Director & Assistant Producer: Josephine Lee
Marketing Manager: Lily Hensby 
Stage Manager: Tom Howieson
Set Designer: Soham Apte 
Sound Designer: Daniel Herten 
Lighting Designer: Luna Ng
Marketing Photography: Mikayla Grosse
Cast (of 3): James Lugton, Lilian Alejandra Valverde, Claudia Elbourne