Mental illness can be a hard subject to follow on stage, as the writer and director are given a vast number of devices and techniques in which to explore the theme, but it is all the more difficult when the play is unclear, even at the conclusion, whether it is a drama about psychological collapse or a vague reconstruction of a Ray Bradbury story.
Basically, it’s all about construction at Hush just doesn’t have a clear one. Instead of being a confrontational piece about a father’s pre-natal breakdown, it is simply a confusing play about an imperfect domestic situation that hints at Damien-like supernatural happenings.
The central idea is interesting, as male pre-natal stress must be more common than we think, but the jump from here to fearing that the unborn child wishes to harm, and indeed is controlling his mother is a major leap of faith and it’s one that we just can’t make.
Getting on board would be easier if we had sympathy for either of the parents but an alcoholic, shut-in dad and a possibly philandering mum are never going to garner our respect. As a result, you’ll simply find that you don’t care about the outcome, even if she gives birth to a demon child, and quickly find yourself meandering into boredom rather than engaging with the stage.
Like a number of shows on any Fringe, Hush starts out with a good premise and simply throws it all away.
2/5
Richard Biggs
