Review by Carla Rudgyard
As the theatre industry narrows its focus onto playwrights who are more likely to guarantee commercial success, It’s becoming increasingly rare to find venues which can support early-career writers with the talent to succeed, if given the space and time to grow and flourish. Renowned for championing new playwrights, the Bush theatre opens their 2025 season with ‘Lavender, Hyacinth, Violet, Yew’- a fantastically queer, authentic and amusing new play written by promising Emerging Writer’s Alumni Coral Wylie.
It starts with a diary entry. Coral’s writing, which is more like spoken word, is poetic, awkward, funny and honest. There’s a clunky quality to leading role Pip’s speech (performed by Coral) that perfectly captures the stumbly, angsty, qualities of adolescent self-discovery. Pip’s parents fumble to understand their child’s non-binary identity, toeing the line between respectful and forgetful; whilst grappling with their grip on the past, and their longing to connect with Pip’s ever-evolving persona. Rooting through old belongings, a garish 80s jacket belonging to the mysterious ‘D’ is uncovered. Hidden in the jacket’s pocket is a diary containing secrets from Pip’s parents past that details their relationship (and ultimately, allyship) with a mysterious figure whose writing morphs into an unexpected queer role model for Pip.
Spliced with injections of lively 80s music and gardening scenes, the play cleverly draws on parallels between human and plant worlds. It explores the roots from which we stem, and the circumstances we need in order to nurture ourselves to grow. Coral’s writing has an impressive quality which evokes the senses while grounding itself in an almost scientific specificity. The script is rich in the theory of queer ecology – explorations of horticultural phenomena like the Yew tree’s ability to be sexually fluid, calling to question the heteronormative lens in which even the plant world is viewed.
The characters are undeniably compelling. Mother Lorin (Pooky Quesnel) is kind and empathetic yet noticeably distant, while father Craig (Wil Johnson) flits between cold disinterest and glaring enthusiasm towards Pip’s interests. Omari Douglas’s notably moving and heartfelt performance as Duncan perfectly complements Coral’s poetic writing, which when accompanied with calming, ambient music (designed by Holly Khan) creates some especially captivating moments. Director Debbie Hannan’s sensitive direction certainly brings attention to the emotionally evocative script, and with the traverse stage, audience members come face to face with the teary eyes of others as this affecting story of soul-searching takes place.
At its crux, this piece explores self-discovery, queer history and one family’s efforts to reconcile the past. Much like a flower, this play is delicate and beautiful and has much potential to grow, although with a run time well over two hours, perhaps a little pruning is needed. Regardless, Lavender, Hyacinth, Violet, Yew is a bouquet of clever writing, important queer history and uniquely floral references, and it’s certainly a must-watch for those hoping to see some brilliant new writing.
Rating: ★★★★☆ (Very good)
Lavender, Hyacinth, Violet, Yew is at the Bush Theatre, London until 22 March 2025
