Beginning a run at the Park Theatre this week is a staging of ‘23.5 Hours’, a play by acclaimed and award winning US playwright Carey Crim. It’s an intense drama, in which we see a family dealing with the aftermath of one member – a teacher – being convicted of the sexual assault of one of his students. 

Crim’s ‘Never Not Once’, which was staged at the venue in 2022, focused on the effect of sexual assault on a survivor and her family. ‘23.5 Hours’ takes a look at how the family of the accused are affected. 

The productions have a director in common as well as a playwright. I spoke to that director, Katharine Farmer, ahead of opening night. 

CM: Can you start by explaining what ‘23.5 Hours’ is all about? Where does the narrative take us? 
KF: ‘23.5 Hours’ is a gripping family drama that explores the aftermath of a teacher’s conviction for an inappropriate relationship with a high school student. The story unfolds through the perspective of his wife, Leigh, as she navigates the turbulent waters following his release from prison.

As Leigh grapples with rebuilding trust and confronting her own past experiences, we witness the profound impact this conviction has on the family and their close friends, exploring how they begin to piece their lives back together.

CM: What themes are explored through the play? 
KF: The play is all about uncertainty and the fragility of trust. It delves into the subtle dynamics of grooming, abuse of power by someone in a position of trust, and how past experiences shape our perceptions. The play also examines the corrosive power of doubt and how this can erode relationships over time. But ultimately this is a human story about love and family dynamics.

CM: Would you say it has a specific message? Is it political? 
KF: ‘23.5 Hours’ encourages audiences to engage with complex issues surrounding the reintegration of a convicted sex offender into society and the fallout from this.

The play challenges us to consider the humanity of those affected by a conviction, without excusing those actions.

While not overtly political, it does address societal issues that have become increasingly relevant in the post #MeToo era, and the far-reaching consequences of sexual misconduct and the spectrum of control.

CM: What made you want to direct this play? What do you love about it? 
KF: I was drawn to direct this play because I love Carey Crim’s ability to write compelling plays that deal with difficult subjects with sensitivity and depth, and address these huge issues through the intimate lens of one family.

I love how the play forces us to look beyond black-and-white narratives and sit in the grey area, even when it feels uncomfortable at times.

As a director, I’m excited by the opportunity to tell a story that feels like an extension of #MeToo narratives, looking at the often-overlooked perspective of the friends and family who are also affected by these crimes, and how we move forward.

CM: Can you tell us about your approach to the play as director? 
KF: My approach to directing ‘23.5 Hours’ is rooted in exploring the complex emotional landscape of the characters and the broader implications of the conviction.

I’ve focused on drawing out authentic performances from our cast, emphasising the internal struggles they face as they attempt to rebuild their lives after Tom returns home from prison. A lot of the decisions these characters make come from a place of love, necessity, of trying to rebuild trust, and trying to come to terms with uncertainty.

Where I typically try to find more abstract and theatrical interpretations of space, and what a set represents, this show really cried out for a realistic living room that becomes a metaphor for this family trying to keep it together.

Over the play the house starts to represent their crumbling foundations, as the pressure from the outside world starts to creep in. Working in tandem with the sound designer to keep the scene changes moving the story along, we’re also adding layers that intensify the emotional stakes of the play and keep the audience engaged in the drama that unfolds between the family.

CM: Can you tell us about the playwright? 
KF: Carey Crim is an award-winning American playwright whose play ‘Never Not Once’ – which I directed at the Park Theatre in 2022 – won the 2017 Jane Chambers award for feminist writing and was a finalist for the prestigious O’Neill Conference.

She’s a resident artist at the Purple Rose Theatre in Michigan where a number of her plays have received world premieres, and she’s received productions across the US and Canada. We first met in 2012 and this play marks our fifth collaboration together, and our second UK premiere.

CM: Can you tell us about the cast?
KF: We’re fortunate to have an exceptional cast for ‘23.5 Hours’.

Lisa Dwan, known for her acclaimed one-woman Beckett performances and her role in Netflix’s ‘Top Boy’, brings depth and nuance to Leigh. David Sturzaker, who recently starred in the West End production of ‘To Kill A Mockingbird’, portrays Tom with compelling complexity.

Other cast members include Jonathan Nyati who starred in ‘The Jungle’ in the West End and acclaimed TV series like ‘Ted Lasso’; Allyson Ava-Brown, whose recent credits include playing Angelica in the West End production of ‘Hamilton’; and Jem Matthews, whose credits include ‘The Unfriend’.

This cast is working incredibly hard and giving so much to this play, I am truly indebted to the dedication and hard work to make this possible.

CM: And now can you talk to us about yourself?  How did you come to be working in the arts? Was it something you always wanted to pursue? 
KF: Ever since I was in school, I’ve loved theatre and storytelling but never quite felt like I belonged on stage. I quickly found directing at university which seemed to perfectly align with my skills and desire to work collaboratively with creatives and cast members and tell a story that moves and excites an audience.

I was very lucky that in my first year of working professionally I lived and worked in America, working in-house for an amazing theatre company that produced a range of new work and existing classics each year.

This is where I cut my teeth and honed my craft directing on a varied range of projects, from new works to musicals like Rogers And Hammerstein’s ‘South Pacific’. Since moving back to the UK, my focus has been on developing new work and bringing new stories to British audiences.

CM: What have been the highlights of your career thus far? 
KF: ‘23.5 Hours’ at the Park Theatre is certainly my biggest production in the UK to date, so this is a really big opportunity for me and will certainly be a career highlight.

I believe every show I direct becomes a landmark production in my development as a director, and I always feel like I’m learning and growing through every process.

In terms of my past career highlights, ‘Never Not Once’ at Park Theatre was certainly a major production for me and a show that I was really proud of.

CM: What aims and ambitions do you have for the future? 
KF: It’s my hope to continue bringing new stories to UK stages and working with exceptional writers like Carey Crim. I hope to keep meeting new artists, tell more stories about subject matters that I’m passionate about, and keep forging a path in the industry as a theatre director and creative producer.

CM: What’s coming up next for you after this? 
KF: I’m currently an Artistic Associate at Arcola Theatre, so I’ll be bringing a show there in the Spring. The show hasn’t been announced yet so I can’t tell you the title, but it’s a reimagining of a pre-existing drama about the dynamics between two strangers whose lives become inextricably linked. 

‘23.5 Hours’ is on at Park Theatre from 4 Sep- 5 Oct. See the venue website here for more information and to book tickets.

LINKS: parktheatre.co.uk | www.katharine-farmer.com | x.com/_kfarms