Mr Jones

There are theatrical moments that transcend their modest stages, and this production of Mr Jones, a transfer from the Edinburgh Fringe, is undeniably one of them. For first time playwright Liam Holmes to tackle such emotionally charged material with this level of sophistication is nothing short of remarkable.

The script is a masterclass in tonal balance, weaving humour, and devastating loss together with expert precision. Holmes understands that tragedy and comedy aren’t opposites, but companions, each amplifying the other. Moments of genuine laughter give way to gut wrenching sorry without ever feeling manipulative or jarring.

As someone that was a child in 1966, I recall the seismic impact of the Aberfan Disaster. A disaster that saw 144 killed a 116 of which were children when tons of Colliery waste plummeted down the valley burying all in its way, including Pantglas Junior School. I therefore approached this production with both anticipation and trepidation. Would it be able to honour the truth of that experience? I’m relieved and moved to report that it does this beautifully by concentrating on the impact it had a one local rugby mad lad, Stephen Jones, and his formation and disintegrating relationship with his girlfriend Ang Price after he discovers that his little brother was one of the victims.

Liam Holmes as writer and actor and Mabli Gwynne deliver performances of exceptional truth and nuance. Their chemistry is palpable, each moment of connection or disconnection meticulously crafted yet feeling utterly fresh. They navigate the script’s tonal shifts with such ease, finding the humanity in every line. But it is when Holmes is so crippled with grief but can’t find the words to express it, that this play excels.

Michael Neri as director makes excellent use of the Finborough’s intimate space rather than fighting the limitations, the staging embraces them, creating a claustrophobic intensity that serves the material perfectly. We’re not watching from a distance, we’re in it, implicated, unable to look away. Particular praise must go to the sound designer James ‘Bucky’ Barnes
whose effects and music are genuinely evocative, summoning memory and emotion and enhancing the storytelling.

This is theatre that reminds us why we need live performances to bear witness, to remember, and to feel collectively. Mr Jones achieves what the best drama aspires to – it entertains, illuminates, and leaves us fundamentally moved. An outstanding debut from a writer to watch closely.


Photo Credit: Ali Wright