Whilst Daughterhood focuses on the roles two sisters have taken in caring for their father, Daughterhood is far broader. Charley Miles writing not only explores family but also the bond of sisters, and just what makes and breaks this bond.
Pauline (Charlotte Bate) has returned home many years earlier. Giving up her hopes and dreams to care for a father, deteriorating in health. Her much younger sister, Rachel (Charlotte O’Leary) has carved a career as a campaigner, fighting for improved services for the father and others with his illness.
Daughterhood takes in moments of each sister’s history. Of the here and now, of childhood, as teenagers, and young adults. In these non-linear scenes, the complexity of the relationship between the two is offered. The growth of two individuals, intertwined as siblings understood.
Adding to this contextualisation is Toyin Omari-Kinch. A chameleon embodying a range of male roles which effect each daughter’s life. Enabled, it’s possible to add dimension to the choices, fate and decisions of Pauline and Rachel. Each allowing reflection of how the present situation has been reached.
Miles’s strength in writing shows that Daughterhood is more than one perception, one identity. The weight of perception grows as each daughter misinterprets the others sense of identity and history.
Whilst Daughterhood encapsulates the new realities of our lives. Of longer living lives and the increasing number of family members fulfilling caring responsibilities. There is something left which feels unfulfilled. Maybe it is simply Pauline’s ambition and aspirations in contrast to Rachel. Maybe it’s because this is simply how it now is. But you hold on to the breathtaking moments, memories of a beached whale, and you hold onto hope.
Daughterhood is at Summerhall as part of the Edinburgh Festival Fringe. You can see the production at varying times until Sunday 25th August.
Disclosure: This review is part of media accreditation for the Edinburgh Festival Fringe. All views and opinions contained are my own.