Review of The Hills of California: Jez Butterworth’s Latest Shines with More Peaks than Valleys

Review of The Hills of California: Jez Butterworth’s Latest Shines with More Peaks than Valleys

A Powerful Family Drama Spanning 21 Years

“Do you remember what it felt like to sing together?”

For Ruby and her three adult sisters, those cherished memories have been overshadowed by painful experiences from their past, including the fracturing of their family and their singing group. This poignant theme unfolds over two distinct decades in Jez Butterworth’s gripping new play, The Hills of California, currently running at Broadway’s Broadhurst Theatre.

The gathering of the sisters in Blackpool, England, is prompted by the imminent death of their demanding mother, Veronica (played by Laura Donnelly). This somber occasion brings together the once-close sisters: Responsible Jill (Helena Wilson as the adult version, Nicola Turner as the young version), who has dedicated herself to caring for their ailing mother; easygoing Ruby (Ophelia Lovibond as adult, Sophia Ally as young), who appears stable until her panic attacks emerge; disillusioned Gloria (Leanne Best as adult, Nancy Allsop as young), whose frazzled demeanor hides deep-seated pain; and the free-spirited Joan (also played by Donnelly in adulthood, with Lara McDonnell as young), who left for California years ago and has not returned since.

While the narrative of adult siblings reuniting around a parent’s death and confronting unresolved issues is familiar territory in theatre and film—recently echoed in productions like Branden Jacobs-Jenkins’ Appropriate and Brian Friel’s Aristocrats—The Hills of California carves its own space in this landscape, albeit with some difficulty.

However, the production excels in many aspects. Directed by Sam Mendes, the play opens in 1976, showcasing the sisters at the Sea View Guesthouse, where their mother is nearing her final days. Once a vibrant establishment, the Sea View now shows signs of wear. “It was the Sea View Guesthouse,” Jill explains. “Then the Sea View Luxury Guesthouse. Now it’s just Sea View.”

Despite its decline, the set designed by Rob Howell is stunning, featuring a three-level staircase that leads to various guest rooms, adding a whimsical, Hogwarts-like atmosphere to the space.

As the first act introduces Jill, Ruby, and Gloria awaiting the arrival of the elusive Joan, the story flashes back 21 years to their youth, where they were subjected to their fame-hungry mother’s strict musical training. Veronica believes her daughters could emulate the success of the Andrews Sisters, and she is determined to secure their big break, even if it comes with harrowing consequences.

Donnelly commands the stage as Veronica, portraying her as a loving yet deeply flawed mother whose relentless pursuit of fame for her daughters leads to troubling choices.

The repercussions of those choices unfold two decades later when Joan returns to confront her past and her sisters. Donnelly’s portrayal of Joan captures the essence of a troubled free spirit who has attempted to escape her history through substance use and an adopted American accent. The third act is charged with energy as Joan faces her younger self, igniting reactions from her sisters. Her entrance, marked by the song “Gimme Shelter,” signals an impending storm, revealing that not everyone is eager to welcome her back.

While The Hills of California may not tread entirely new ground in the realm of dysfunctional family dramas, its unique structure—shifting between decades—paired with Donnelly’s commanding performance, makes this journey worthwhile. Grade: B+

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