The brothers' father didn't trust banks, so he kept all his money in a biscuit-tin which has gone missing. Joe demands that Tom tells him where the tin is, but Tom repeatedly says that he has no idea where it is. Each tries unsuccessfully to out-manoeuvre the other with lies. Joe pretends that his son is dying of cancer and is relying on the inheritance to fulfil his last wish. Tom produces a pile of faked receipts to try and convince his brother that the cash has been gambled away. They bicker constantly: who will inherit some James Bond videos; the merits of their respective wives; their father's favourite hymn. Joe tries to coax Tom out of the house for a meal, but eventually leaves on Tom's insistence.

In Act Two, Joe returns, unable to leave the farm because of the bad weather. The farmhouse is flooding and the brothers end up accidentally locking themselves in the cellar. As the waters rise they continue to argue while revisiting the past and the feelings they had for their late father. In Act Three the situation is desperate, with the worsening flood becoming life-threatening. The pair attempt finally to resolve their differences, while never giving up their search for the money.

JJ Wright plays Tom as a bitter victim of circumstance. The character is very much a product of his agricultural upbringing and the actor conveys his jealousy and anger at his brother and the world beyond the farm with conviction. Tom's demeanor throughout is physically domineering yet emotionally stunted, although he still engenders sympathy because of his understandable frustration at his lot in life. Martin Miller is equally excellent as Joe, who initially seems more sophisticated than his brother. This is quickly revealed to be a façade, and his slick businessman personna is soon stripped away by his bullying older brother. In the latter parts of the play he becomes a sorry figure unable to stand up for himself. The pair work well together on stage and play off one another marvellously to demonstrate the complex, yet ultimately tender, relationship which the brothers have.

Richard Marsh's script establishes the important differences between the two characters and their family history within the first five minutes, allowing the plot to unfold at a satisfying pace. The dialogue perfectly encapsulates brotherly rivalry and a typical fraternal relationship - intimate at times, but distant when it comes to some contentious subjects. The set cleverly makes use of a cramped stage, creating a convincing setting. The use of sound effects and water adds atmosphere and urgency.

Cast Credits: (alpha order): Martin Miller - Joe Napper. JJ Wright - Tom Napper.

Company Credits: Writer / Director - Richard Marsh. Designer - Maureen Freedman. Composer - Gavin Osborn. Lighting Design - Richard Howell. Stage Manager - Amelia Connell. Venue Crew - Aaron Carrington. Sound Engineer - Paul Hodson. Dramaturg - Sarah Dickenson. Graphic Design - Joel Simpson. Photography - Ron Julley. Operator - Natasha Pater. Accent Adviser – Dee Adams. Producer - uncredited. Company - Boss Hogg. Website - www.dadsmoney.blogspot.com.

END

(c) David Hepburn 2008

reviewed Friday 8 August 2008 / Pleasance Dome, Edinburgh

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com