It’s hard to believe that The Anniversary by Bill MacIlwraith was the playwright’s one theatrical hit. Though solidly set in the late 1960’s, the quippy, accessible text makes the play feel thoroughly modern. Yes, the evergreen nature of the play is due in large part to the universal relatability of complex and nightmarish family dynamic, but is also thanks to the catlike agility of the actors. Their ability to navigate every moment with raw spontaneity while remaining completely grounded was breathtaking.
The cheery yellow set belied the darker themes of manipulation and abuse beneath, which is exactly what a house like this would do: put on a lovely coat of paint so the outsider eye did not suspect that this was a house of horrors.
MacIlwraith is a master of his craft. He managed to elevate a story about generational trauma to generation terror while keeping the comedy the fulcrum on which the play rests. The play is simultaneously cozy and painful to watch—like being hugged with barbed wire. Every line drips with history. One moment, the audience is held in suspense, and the next we are sharing in side-splitting laughter.

The direction of the play carried a subtle brilliance—the L-shaped seating arrangement gave everyone a front row seat to the family drama while also giving the audience constantly shifting perspectives on each character. In a genius blocking decision, at no point was everyone comfortably sitting. Not only did this create compelling levels in the stage picture, it reminded the audience that this is not a comfortable or welcoming house; it is far more comfortable to remain standing than it is to sit beside family.
The weak part of the play was the lighting. Some lighting cues felt unintentional and did not further the story or instruct the audience on where to look or what to feel. However, the overwhelming strength of the show masked any lighting missteps.
The Anniversary plays at The Questors Theatre until 25th January.
★★★★★ (5*)
Gifted tickets in return for an honest review | photography by Jane Arnold-Foster
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