Till the Stars Come Down | Nottingham Playhouse

Till the Stars Come Down is receiving its regional premiere at Nottingham Playhouse. After originally opening at the National Theatre, the production transferred to the West End, where it earned two Olivier Award nominations. With over 20 international productions since, it has made its way back to the Midlands and, in a sense, feels like it is coming home.

Beth Steel’s play invites us to the wedding of Sylvia (AK Golding), a woman from the East Midlands and Marek (Ivan Ivashkin), a Polish immigrant. But it isn't long before Sylvia’s dysfunctional working-class family becomes the real focus. As the celebrations get underway, old secrets begin to surface, bringing old wounds and uncomfortable truths with them. Along the way, Steel explores prejudice, trauma and all the tensions that can come with a gathering of families for a wedding.

A red curtain sets the scene as the three sisters discuss the wedding and life in general before opening to reveal the ‘top table’, where the speeches and shenanigans begin. Oli Townsend’s design works well in the space, opening out again to reveal the exterior of the wedding hall and, briefly at the beginning of Act Two, the interior. The only slight problem is that it isn't always immediately obvious that the wedding is taking place outside. The hot weather is hinted at when some of the cast are seen fanning themselves at the top table, but it takes a little while for the setting to fully register. When a visually striking downpour eventually hits, the wedding is moved inside. A clearer indication of the setting earlier on would help to establish the environment and make the transition inside feel more natural.

The action occasionally spills out into the audience, which works particularly well as we are positioned as ‘invited guests’ at the wedding. The middle aisle becomes the wedding aisle, which is a lovely touch. Suddenly, the audience feels less like an audience and more like a room full of wedding guests. When the cast encourages everyone to join in with the songs and general audience interaction, the atmosphere becomes even more electric.

There is plenty here that feels uncomfortably familiar, particularly when it comes to prejudice. It is therefore hardly surprising that xenophobia becomes part of the story, reflecting the rise in hatred and prejudice that can be seen in society today. Marek’s presence brings some uncomfortable prejudices within Sylvia’s family to the surface, allowing the play to explore how damaging those attitudes can be.

The play also touches on the idea of change and the decline of the local coal-mining industry. The mines once played a huge role in shaping the area and its communities, but their closure has left a lasting impact. However, this theme feels less developed and does not always sit naturally within the rest of the piece. While the characters looking back at the past do acknowledge how much the economic landscape has changed, the sudden listing of all the local coal mines during a wedding feels slightly out of place. It is an interesting piece of local history, but within the context of the scene, it can feel as though the play is trying to make a point that hasn't been fully integrated into the wider story.

Central to the success of the piece is the relationship between sisters Sylvia (Golding), Maggie (Leah Brotherhead) and Hazel (Emma Pallant). Although the play is very much an ensemble piece, with every member of the cast given opportunities to shine, the dynamic between the three sisters is particularly fascinating to watch as the story develops. Pallant is especially impressive, making a noticeable tonal shift between her strained relationship with her husband John (Graeme Hawley) and the much more natural, relaxed version of Hazel we see when she is with her sisters. The contrast makes their relationship feel genuine and gives us a real sense of the history they share.

Sadie Shinmin’s Auntie Carol is perhaps the most instantly relatable character, providing plenty of comedy throughout. There is something recognisable about her that feels like every family has an ‘Auntie Carol’, the person responsible for many of the memorable moments, particularly when thrown into the chaos of a wedding. Marek does occasionally fall into the trap of feeling slightly stereotypical, but Ivashkin throws himself into the role with energy and enthusiasm. Overall, the cast successfully create the feeling of a real family, with their natural chemistry and believable relationships adding significantly to the play’s humour and emotional impact.

Till the Stars Come Down embodies everything a wedding can be about: family, love, laughter and, inevitably, a little bit of carnage. The cast delivers energetic and committed performances, while the writing largely stands up, making it easy to see why the play has enjoyed such success. With plenty of twists and turns that will have you laughing and occasionally wondering what could possibly happen next.

What makes the piece particularly relatable is how easily you can recognise your own family within it. From the bickering and embarrassing relatives to the moments of genuine love and connection, there is something familiar in the chaos. Perhaps most impressive is just how far the play takes you from where it begins. What starts as a seemingly joyful wedding celebration gradually reveals something much more complicated underneath. Till the Stars Come Down is an unexpected and often emotional journey, much like any good family wedding.

Till the Stars Come Down plays at Nottingham Playhouse until 26th September - tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Sam Taylor