The Hills of California

The newest collaboration between acclaimed playwright Jez Butterworth (The Ferryman, Jerusalem) and director Sam Mendes, The Hills of California caused much anticipation as soon as it was announced. Housing a strictly limited run at the Harold Pinter Theatre and manned by mega-producer Sonia Friedman,has all the hype for the show been worth it?

I was gifted a press ticket in exchange for an honest review. All thoughts and opinions are my own.

Veronica/Joan: Laura Donnelly
Gloria: Leanne Best
Jill: Helena Wilson
Ruby: Ophelia Lovibond
Young Joan: Lara McDonnell
Young Gloria: Nancy Allsop
Young Jill: Nicola Turner
Young Ruby: Sophia Ally
Penny/Biddy: Natasha Magigi
Luther St John: Corey Johnson
Bill/Mr Halliwell: Shaun Dooley
Dennis/Jack Larkin: Bryan Dick

Rating: ★★★★

What’s The Hills of California about?

In the sweltering heat of Blackpool in 1976, four sisters reunite at the family Sea View guesthouse (with no actual sea views) in Blackpool as their mother is upstairs dying of stomach cancer. As they wait for the oldest to arrive from California, the play flashes back to 1953, revealing their mother’s aspirations for the foursome become a singing group. When an opportunity comes from a flashy American agent, the consequences irrepably damaged family dynamic.

What are my thoughts on The Hills of California?

The second of two plays by acclaimed playwrights featuring family dynamics between sisters I saw this week, the best words to call The Hills of California are perfectly imperfect. Gorgeously directed by Sam Mendes, this three-hour epic ebbs and flows as it swivels between decades like Rob Howell’s gargantuan rotating set. While slow in execution, it never drags. Each scene is compelling as we see the family dynamics play out with physical and emotional distance as the sisters switch from screaming outbursts to fits of laughter. While the first and second acts are masterful, the third feels a tad rushed as numerous revelations unfold that make for an abrupt ending once the mysteriously absent Joan finally appears.

There’s a sense of dread simmering throughout as we never see a terminally ill Veronica and question whose memories are the most accurate. The audience is invited to see the objective version of events, creating a gut-punch once we discover the reason the Webb sisters broke apart. I won’t spoil much, but it highlights how women and parents can be complicit in predators’ actions in order to make their dreams possible.

Butterworth and Mendes treat its often heavy subject matters with care as the Webbs grapple that strange fine line between life and death, but there’s still humour and levity to be found in The Hills of California. The small in-jokes and references to black magic, Nat King Cole and Co-Op are sure to cause those familiar with Blackpool chuckle, but it’s the moments where it takes time to reach a punchline are where the writing and direction shine. Let’s just say when Veronica tells a guest to walk around in ten minutes to reach the Seaview’s front entrance, take it as literally as possible.

What’s the cast like?

What really glues The Hills of California is its phenomenal ensemble cast who carry the show’s emotional weight. Laura Donnelly (Outlander) commands the stage as matriarch Veronica, managing the Seaview and meticulously training her daughters into her version of the Andrews Sisters to achieve their (her?) dreams of performing in the London Palladium all while looking prim and proper. It becomes a shock when Donnelly appears as an adult Joan in act three, cigarette in hand and clad in an Afghan coat while speaking with a deadpan American drawl. I can already see an Olivier nod for her.

The rest of the Webb sisters are equally as phenomenal. Helena Wilson is endearing as mousy Jill who sacrificed her life to take care of her mother. Leanne Best shines as hot-headed and enraged Gloria, Ophelia Lovibond as self-centred Ruby. All make the sisterly relationship so convincing even with their differing personalities. The same can be said for their younger versions who mirror their adult counterparts excellently.

The men of the play minimal but crucial roles. Shaun Dooley (Mr Bates vs the Post Office) is a joy dual role as is Bryan Dick as local jokester Dennis. Corey Johnson makes an uncomfortable presence as Luther St John through his seemingly pleasant nature that makes his real intentions more horrifying.

What are my overall thoughts?

While having an uneven ending that left me desiring more closure, The Hills of California still shines as a layered and heartbreaking family drama. With a formidable cast across the board and masterful writing and direction, it’s certainly third time’s charm for Jez Butterworth and Sam Mendes. I already see this as a contender for one of the best plays of the 2024 season.