The Book of Grace is the companion piece to Topdog/Underdog written by Pulitzer Prize-winning playwright and Tony nominee Suzan-Lori Parks. Arcola Theatre’s production is brought to us by award winning and Olivier nominated director Femi Elufowoju Jr. Having not seen the latter play, expectations were high. 

The play is a solemn, gripping family drama with three strong and differing characters taking place on a simple set of sofa, rug, coffee table, laundry basket, a tv live streaming the Texas-Mexican border and a tattered American Flag.

The titular Book of Grace is literal, and one cannot but warm to Grace (Ellena Vincent), a waitress, who keeps her life bearable with her book of news stories with happy endings, and diary entries of “good things” she notices at work. Always seeing the positive side of humanity, this book is her form of resistance and solace from the stark realities of her life. She keeps her book safe from her husband under the rug covered floorboards of the living room. What gives her the strength to stay is also what makes her remain in her oppressive living circumstances where others would likely choose to leave. At the behest of Grace, Vet’s estranged son Buddy is coming to stay. The reunion of father and son looks set to be a challenging one but ever optimistic Grace hopes the timing of the visit should ease tensions as Vet is to receive a medal for apprehending drug smugglers at the border and the ceremony honouring him should be a happy occasion.

Her husband Vet (Peter De Jersey) thrives on borders in the literal sense of being a patrol officer on the Texas-Mexico border, as well as in the more abstract sense shown by his limitations and his wish to keep things controlled, orderly, restricted, and separate, and through his ideas of ‘us’ and ‘them’. Anyone Vet cannot keep a close eye on causes Vet discomfort so when his estranged son Buddy arrives after an absence of 15 years, he is untrusting and struggles to behave and is compelled to search Buddy’s suitcase. Anyone living with Vet seemingly has no right to privacy. Grace of course thinks nothing in the world is so bad to keep father and son apart and everyone should be able to make amends. “Past is behind, the future is in front. Forgive and forget” she states perkily.

Buddy (Daniel Frances-Swaby) arrives as a conflicted character, wanting to know his father and seeking his approval yet seething with resentment for what he did to him. Something so terrible, it remains unspoken, and we are left guessing what Vet’s exact crimes towards Buddy are. Buddy does to a degree reserve judgement of his father, but he is keeping a tally during his time in Grace and Vet’s home. Three strikes and Vet is out. The play unfolds as Vet steadily strikes out.

Buddy is a military man who has returned from active duty with a Bronze Star medal and is in search of a job and hoping for help from his father to join the border force. Alas Vet is more threatened than proud of Buddy. He grudgingly shows him the border and what the job entails. In the end Vet’s insecurities shine through. He thinks working side by side would not work.  “There are plenty of jobs in the universe, just not here. You’ll find your feet, just not in my footsteps”. Vet’s is not only an absent father but also an unsupportive one. Buddy’s suggestions for Vet’s speech for the medal ceremony are dismissed.

Vet has kept a tight grip on Grace’s life, having forced her to discontinue her education because, “Books cause the weakening of the mind”  He would certainly not be content to have anyone smarter or better than him under his roof. Much of the tension and conflict of the play stems from his proud, unrelenting patriarchal pedestal.

Buddy and Grace have scenes where he is concerned for her and wants to know what the trench shaped hole in the garden is for. He knows the answer without the need for Grace to speak. He recognises Vet is likely violent towards Grace as he was to his mother. The hole in the garden is her likely fate should she displease Vet.

The glimmer of flirtation between Buddy and Grace makes the audience sense that perhaps there is a chance they can both escape life under Vet’s roof.

During the play the underlying violence is shown through clever lighting (by David Howe) using blackouts and blood-red lighting. Scenes of Buddy videoing himself have the scent of an unhinged suicide-bomber. All seems to be leading to an explosive ending to this tale which will not be ruined here.

Overall, all three actors put in strong performances. The scenes Buddy performs seated in the audience keep us on our toes, but we are left unsure of the reasoning behind this staging apart from bringing a degree of levity to the play. This is generally a sombre play and as an audience member we are left unsure what to take away from this story, We are shown the strength of patriarchy, power over others, and men’s use of violence to solve their problems and through Grace we are shown the power of hope.

Date: on until18 June 2024. Location: Arcola Theatre, Dalston E8 3DL. Price: £15 - £27. Book now.

 Words by Natascha Milsom