“Sometimes I prefer to look out at the world and not be a part of it,” Roberts murmurs gently, squinting into a periscope fashioned from discarded tubing and Gaffer tape. We are midway through The King of Broken Things, and we’ve grown to love this fragile character who spends most of his time alone in his ‘workshop’, developing creative projects that he used to share with his father. Cara Roberts is utterly convincing and heartfelt as this lonely boy, who is building a surprise for his Dad out of salvaged objects and ‘broken things’. Holding the space for just under an hour, Roberts’ performance is a detailed study in child-like vulnerability and playfulness, full of surprising physicality and variation which evolves the story compellingly and draws us into a deep empathy with the central character.
In the absence of a wider ensemble, Roberts’ stage partners are elements of the ingenious set. Full of curiosities and oddments, set design by Hiles, Taylor-Broderick and Peens transforms the auditorium at Riverside Studios into a mysterious world that slowly reveals its secrets over the course of the play. The production flies by as the audience moves between suspense and delight, discovering a series of marvels hidden in plain sight. Gasps of surprise and a whispered “wow, that’s cool!” were heard among the audience, comprised of many families with young children, when the final set-piece was revealed. Intriguing from the outset, and gaining deep emotional significance as the play develops, the set of The King of Broken Things is a feast for the eyes.
Taylor-Broderick’s script is pacey and movingly concise, providing simple but profound messages about the importance of caring for others, repairing things that have been broken, and believing in ourselves. The story of this boy is not an uncommon one, and the play reminds us of the bravery required to find hope and belief within a home context of sadness and anger. Moving fluidly between the concrete and the metaphorical, the boy tells us about something he has created from a salvaged piece of tech made in Japan, which prompts him to discuss Kintsugi: the Japanese art of repairing pottery and porcelain with gold or silver, making objects more beautiful in the once-broken places. He tells us that the human heart must be a little like Kintsugi: worthy of fixing and more wonderful if it has a few scars.
The play ends on an unresolved note, and we are left wondering what will happen to the boy and his family. However, we are also left with a beautiful stage image representing the power of dreams to transform the ordinary into something magical. Cara Roberts holds the stage with infectious delight and gentle earnestness, showing us that the imagination is capable of repairing all kinds of broken things, including the human heart.
Touring to the UK from South Africa, Theatresmiths are brightening the London winter with a beautiful story. Playing until the 4th of January, The King of Broken Things is a unique, surprising and heartwarming piece to enjoy over the festive period.
Written and directed by Michael Taylor-Broderick.
Drama for Children and Families (age recommendation: 10+)
Cast includes: Cara Roberts
Until Saturday, 4th January 2025
Run time: 55 minutes without interval.
Photo credit: Suzy Bernstein