Juniper Blood Stuns at Donmar Warehouse: See Why Critics Are Raving!

Mike Bartlett’s latest theatrical work, a three-act play, evolves intriguingly throughout its duration. Initially presented as a satire involving a mixed family, the narrative incorporates environmental debates and generational tensions. As the play progresses, the setting—a realistically earthy stage—transforms, suggesting a shift towards a broader, almost state-of-the-nation theme, reminiscent of Bartlett’s acclaimed work, Albion. This shift explores the lives of middle-class city dwellers who move to the countryside seeking a sustainable, idyllic life through farming.

The play ambitiously expands to address broader, universally relevant themes about ethical living amid rampant capitalism. It questions whether the characters’ pursuit of freedom is actually an escape, whether localism is merely nostalgia for a simpler past, and whether it is possible to return to a pastoral paradise through rewilding. These significant inquiries are explored through the lives of Ruth, portrayed by Hattie Morahan, her laid-back partner Lip, played by Sam Troughton, and Ruth’s former stepdaughter Milly, enacted by Nadia Parkes.

Lip’s character is a privileged eco-warrior, reminiscent of Jez Butterworth’s Rooster from Jerusalem, albeit with less charisma and a family-inherited farm. Ruth shares his vision of returning to a simpler, more fundamental way of life—although only to a certain extent.

Directed by James Macdonald, the staging is noteworthy as the lights remain undimmed, drawing attention to the natural light over Lip’s farmland and perhaps emphasizing that the story’s ethical dilemmas are linked to our real world, making us complicit participants.

The set, designed by Ultz (who also designed Jerusalem’s set), features a grassy knoll that appears alive, complete with birdsong and drifting tufts of grass. However, it also unexpectedly hosted a peculiar insect that ended up in the critic’s clothing.

The performances are strong and the narrative is engaging, though the plot sometimes seems overly constructed around the play’s philosophical ideas. Certain points are directly voiced by the characters, particularly Milly’s friend Femi, portrayed by Terique Jarrett, who is studying for an MSc in contemporary rural economy at Oxford. By the final act, he almost lectures on topics ranging from the legacies of Gen X in Thatcher’s Britain to global capitalism. Lip’s character is portrayed as an anti-modern figure, rejecting life-saving medical technology in favor of his principles.

The play also captures contemporary concerns about technology, globalization, and the disillusionment with modern society seen in preppers and survivalists. Despite its serious themes, the play is filled with humor. Milly offers sharp Gen Z insights without becoming a stereotype. Meanwhile, Tony, the neighboring farmer played by Jonathan Slinger, is depicted with a mix of satire and sincerity as he attempts to rediscover himself during a mid-life crisis.

Although the play sometimes feels like it is preaching or piling on too many ideas, it remains engaging and ambitious, with moments reminiscent of Chekhov’s style. Bartlett skillfully balances light-hearted social satire with deep and complex themes.

Ultimately, the play boldly tackles more themes than it might manage, making it not just a critique of national conditions but a wider, global drama that wrestles with crucial issues like climate change and the search for collective optimism. It’s a refreshing and provocative piece, aside from the unexpected encounter with an insect.