Many of the reviews of the book from which this play is adapted describe the tale as a “quiet, gentle” story. This Top Dog dramatic adaptation is faithful to the spirit of the book – and this is the play’s chalice and its challenge.

Perry, a nine year-old girl who is also an only child, develops a meaningful relationship with her grandmother, Honora, who lives in a residential home for those suffering from dementia. Being a retired teacher, Honora enjoys word-play and, though lacking short-term memory, has her wits and biting tongue about her. She can’t recognise her son but can recall poetry and song. Because of her interest in language Perry decides to write an ABC for Honora and she wants to have it ready to present to her on her birthday.

At the residential home Perry meets an assortment of quirky individuals: childlike Doris who is Honora’s closest friend; Stephen, a caregiver who enthusiastically whisks away each new baked treat that Perry brings; Eleanor, an anguished and silent presence; and Melvyn, an avid cricket fan. In a dementia ward life is unpredictable and all of these interactions have their poignant charm.

The ensemble group is strong – each performer other than Perry and Honora plays multiple roles. The open stage has most of the actors in view, either on stage or resting, to the side. This is not a distraction, the transition of roles and scenes is effortless and the presentation of the play is well designed. 

Emma Cusdin as Perry, and Toni Jones, as Honora, are the rightful stars of the show. Each is strong, compelling, and holds her own for the entire performance. The other seasoned performers include Tom Trevella, Jonathan Broom, Annette Thomson, and Sylvia Barnes, who sparkle in their varying roles which enhance and support the central relationship. 

Whilst we enjoy the family dynamics between Perry and her parents, the unfolding relationship with her Gran forms the nucleus and heart of the production. The young and old, occupying a space beyond the normal industry of souls, are both, in some respects, ‘outsiders’.

Themes of the play include the passing of time and the changes wrought by time, the value of cross-generational connections, mortality, loss, and the importance of being yourself (in whatever incarnation you occupy).

It’s refreshing to watch something other than crime, passion and violence. The ACB with Honora Lee, being essentially ‘soft’, is a brave piece to dramatise. Touching rather than visceral, the issues presented are nonetheless real, universal and topical, and they are handled without sentimentality. We recognise the people, language, and relationships within this play.

It’s a novel theatrical encounter and we congratulate Top Dog and each performer for sharing a different sort of experience – one that is both light in touch and deep in intent.

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