Death of England: Michael at Soho Place

Soho Place created a buzz by being the West End’s first purpose-built theatre in 50 years. Thanks to some well-considered, eclectic programming, the venue continues to be one of the capital’s most exciting. It now resurrects the National Theatre’s esteemed Death of England series, bringing all three plays together for the first time. They can be enjoyed standalone or as an interconnecting trilogy.

We begin with Death of England: Michael. The stage takes the form of a large Saint George’s Cross. Flowers are to one side. It is suggestive of a funeral but as the monologue plays out, it might also be symbolic of the crossroads our protagonist finds himself at or even, on a larger scale, the intersection our country has come to. While on paper the United Kingdom promotes equality, racism remains embedded in the very fabric of our society. It’s a key theme explored throughout the series. Here it is from the perspective of a white man, although interestingly both Clint Dyer, who writes and directs, and Roy Williams (co-writer) are Black. This affords the piece multiple lenses through which to view its many themes, allowing its audience to form their own opinions and judgements as the monologue unfolds.

Loud and lairy Michael (an electric Thomas Coombes) has a difficult relationship with his father. On the one hand, he respects the man – a hard-grafting florist and pillar of the community. They enjoy watching the football together, bantering in the pub and, in typical male fashion, never overtly expressing their love for one another. But Michael can’t quite swallow his father’s casual racism. Indecorous words spill out of his mouth, especially when watching a game, and his impassioned support of Brexit doesn’t sit right with his son. When pressed on what he voted for, Michael lies “leave” to placate him. When he dies suddenly on his son’s shoulder during the Euros 2021 final, Michael is forced to not only confront his father’s views and beliefs but also question his own.

A drunken eulogy – expertly executed by a remarkably convincing Coombes – allows Michael to voice home truths absent of filter. Without giving too much away, an unexpected discovery about his dad then propels him on a new, surprising path. Social class is also placed under the microscope along with friendship, family dynamics and British culture in the 2020s. All will be able to relate to the play and, while many will disagree with Michael’s attitudes and feel uncomfortable with some of his behaviours, he is representative of a type of English man we all know.

Michael has a great many flaws but as we witness his torturous soul-searching and his grief over not only his father’s death but the loss of what he deems to be his own culture, we find ourselves sympathising with this troubled soul. Coombes is simply stellar – making the role his own and embodying a multitude of conflicting emotions. The result is a complex man who longs for identity and connection but instead finds himself swept along in a confused current. Humour is effectively employed to mask Michael’s perturbed life and somewhat offensive outlook. Through occasional audience interaction, full use of the expansive stage and an array of effective props, we truly feel immersed in the character’s world. This urgent, heated and heartfelt play asks many questions but provides few answers and that can only be a positive. This is theatre at its most thoughtful, provocative and powerful.

Jonathan Marshall
Photos: Helen Murray

Death of England: Michael is at Soho Place from 15^th July until 28^th September 2024. For further information or to book visit the theatre’s website here.

Watch the trailer for Death of England: Michael here: