Royal Court, London
This family drama confronts a host of dilemmas but is at its best when it allows a fine cast to express the characters’ strained relationships
Vivienne Franzmann has in the past tackled the victimisation of teachers (Mogadishu) and the exploitative nature of photojournalism (The Witness). Now she confronts the ethical and social dilemmas raised by surrogate motherhood, and the result is a decent play that ticks all the right boxes without fully achieving the emotional intensity the subject demands.
White, middle-class Clem, a TV producer by trade, is desperate for a baby. So she and her husband, Josh, pay £22,000 to an agency and find themselves locked into a global transaction in which a Russian woman’s egg is fertilised by Josh and implanted in the womb of an Indian woman. But Clem is increasingly estranged from her old-fashioned socialist dad, who has motor neurone disease, and who says she should be ashamed of herself. Her residual guilt surfaces in Skype conversations with the Delhi doctor supervising the surrogacy, and is compounded when legal difficulties arise.
Related: Vivienne Franzmann's Pests: 'It is brutal. But it is authentic. I feel ethical, clean about it'
Continue reading...from Pregnancy | The Guardian http://ift.tt/2tMTBws
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