On my way to Blessings at Riverside Studios, I wondered what was left to be said about the 1960s. The decade of feminism, sexual liberation, and political upheaval has been reinterpreted endlessly in film and television. Where does Sarah Shelton’s new play fit into those conversations? I myself am named after a Beatle, so the era has a special place in my psyche. As the lights dimmed to the sound of the Monkees’ Daydream Believer, Shelton’s note in the programme echoed in my mind: “Has anything really changed?”
Blessings encapsulates a suburban Catholic family, the Deacons, grappling with the shifting moral and social currents of the 1960s. The Deacons’ daughter Frances is pregnant, and each member of the family responds differently. There’s the hardened matriarch, whose Catholic devotion keeps the family bound while she wrestles with resentment towards her children’s freedom; the drunken father, a hopeless dreamer whose first reaction to the pregnancy is to shout “abortion!”; and the two older, more successful siblings, who cannot fathom the waywardness of the younger ones. Frances herself is torn between the youth culture of the 60s and the responsibilities of impending motherhood. At the centre stands Sally — our protagonist — caught between her family, romance, and her own dreams of independence.
Shelton’s new play walks a tightrope: at times, it feels like a very good television drama, but not always a fully realised play. That makes sense, given Shelton’s background as a script editor for Talkback Thames and Channel 5’s Family Affair. Blessings builds in television-style cliffhangers, with the tension rising sharply from scene to scene, culminating in a major twist. Yet instead of letting the consequences unfold, the play cuts to black. The result feels like the end of an episode rather than the end of a play — I left the theatre half expecting a “next week on Blessings” trailer.
The script flirts with big themes — feminism, sexual awakening, and counterculture — but never dives deeply into them. It’s a family drama that doesn’t quite give its characters the time or space to reflect on how the decade is reshaping their beliefs. The explosive twist at the end arrives without the emotional reckoning it deserves. Shelton admits in her programme note that Blessings was first conceived for television, and it shows: the pacing and structure favour dramatic escalation over reflection.
This carryover of TV sensibility extends to the design. Alice Carroll’s set places the Deacons’ retro living room centre stage — a shag-carpeted paradise clashing with the white, altar-like austerity of the dining area. Her costumes capture the visual dualities of the period: bright mod colours, conservative muted tones, and free-flowing hippie garb. The contrast between matriarch Dorie’s traditional style and her children’s new fashions mirrors their ideological divide.
Anna Acton’s portrayal of Dorie Deacon is the standout performance that holds Blessings together. With a controlled physicality and a tight-lipped reserve, Acton gives Dorie’s hypocrisy and Catholic guilt tangible weight. Her battle for control over her household is riveting, and one only wishes the final scene gave her more space before the curtain falls.
Overall, Blessings is a sincere time capsule of 1960s Britain, though it ultimately bites off more than it can chew in its 90-minute frame. It delivers drama, nostalgia, and a strong sense of place, even if it never fully interrogates the clash between post-war ideology and modern freedom. Still, for anyone who enjoys a good family saga with a touch of soap opera flair, Blessings offers an engaging evening at the theatre.
Riverside Studios
Drama
By Sarah Shelton
Music Design by Andy Graham
Directed by Sarah Shelton
Cast Includes – Gary Webster, Anna Acton, Emily Lane, Hannah Traylen, Milly Roberts, Freddie
Webster
Until October 26th
Running Time – 90 minutes, no interval
Photo Credit Lidia Crisafulli