“Was the death expected? Yes or no”
The clues may be there but I was still astounded by Sarah Kosar’s Mumburger, an arresting new drama that has set up residence in The Archivist’s Gallery, a venue tucked away by the canal in Haggerston. Described as a play about “family, grief and red meat”, this world premiere of a hyper-local piece of writing (Broadway Market, Rich Mix and Columbia Road flower market all get a mention) from The Archivist’s inaugural writer-in-residence certainly makes for an interesting beginning for Kosar’s tenure here.
After a tragic car crash, an Anglo-American family is shattered by grief and their differing responses to their loss. Father Hugh retreats into himself, at a loss for what to say or do; daughter Tiffany is conversely a torrent of words and action, a whirlwind of activity as a distraction technique. But 72 hours after the loss of the wife and mother they miss so dearly, an unexpected act of “environmental performance art” throws up a bizarre but searching challenge. Continue reading “Review: Mumburger, The Archivist’s Gallery”