Nobody Will Ever Forgive Us

As part of the Traverse’s Debuts season, Paul Higgins’ Nobody Will Ever Forgive Us paints an engaging, if predictable portrait of a working class family in crisis. Prodigal son Patrick, returning from the seminary, exposes the difficult realities being faced by the family he left behind and the strained bonds between them. It’s a familiar set-up, and there are few surprises as the play continues. The strength of Higgins’ script, however, makes what could otherwise have been dull and derivative into winning theatre.

Higgins’ debut is characterised by its fast-paced, well-observed dialogue, which creates a believable sense of the familiarity and tension between his characters. The script is at its strongest when it is given room to breathe by the plot, allowing Higgins’ ear for comedy, and his affectionate dialogue, to shine. Indeed, one of the play’s main strengths is that there are no villains or heroes here, rather a cast of damaged misfits, struggling to cope with their past mistakes, which lead to the regular crises that drive the plot. Unfortunately, it is in these moments that the play is betrayed by its own strengths. The simplicity of the writing, which shines during its quieter or more comedic scenes, struggles not to seem unoriginal at moments of confrontation; the high energy of the cast, so suited to Higgins’ rhythms and quick pace, creates a tendency to oversell these crises.

Despite this drawback, the cast is highly praiseworthy. As an ensemble, they display a remarkable chemistry, their comic timing and pace highlighting Higgins’ well-pitched script. Particular mention should be made of John Wark’s measured, identifiable Patrick and Gary Lewis’ temperamental, powerful father, performances which draw the audience fully into the tenement flat created by Naomi Wilkinson’s stylish, larger-than-life design.

Nobody Will Ever Forgive Us is an admirable debut, honoured by the strength of its production. It pushes no boundaries and offers few surprises, suffering from difficulties in the gear-change from black comedy to dramatic crises, but these issues do little to detract from its strengths. Forgive these minor faults, and there is much to admire.