REVIEW - THE MEMORY OF WATER | OCTAGON THEATRE, BOLTON | 05/02/2026

The Memory of Water at the Octagon Theatre Bolton – A Funny, Fractured Family Reunion

First performed in 1996, The Memory of Water is an Olivier Award-winning comedy-drama by Shelagh Stephenson, written in the aftermath of her own mother’s death. Now revived to mark its 30th anniversary, the play arrives at the intimate Octagon Theatre Bolton, directed by Lotte Wakeham.

Although firmly set in the mid-1990s, this revival proves just how timeless Stephenson’s writing is. At its heart, the play explores grief, family dynamics and the unreliability of memory — themes that feel just as relevant today as they did three decades ago.

Set entirely on the night before their mother’s funeral, The Memory of Water follows three very different sisters as they return to their childhood home and attempt to navigate grief together — or, more accurately, side by side. Mary, Teresa and Catherine share the same history, but not the same memories, and as the night unfolds it becomes increasingly clear just how differently they each experienced their upbringing.

What begins as sharp-tongued bickering and familiar sibling squabbles slowly gives way to something deeper. Conversations spiral, old wounds are reopened, and long-held assumptions about their mother — and about each other — are challenged. The play moves fluidly between laugh-out-loud comedy and moments of quiet reflection, capturing the emotional chaos that often follows loss.

This is a deliberately slow-release piece. The characters appear almost fully formed at first, but cracks gradually emerge as the night wears on and exhaustion, alcohol and nostalgia take hold. Memories are questioned, contradicted and reshaped, raising the idea that what we remember may not always align with reality — and that sometimes, memory itself can be both a comfort and a burden. When the play allows these moments of reflection to linger, it finds its most moving and human beats, gently reminding us how complex grief can be.

Katie Scott’s set design is a real highlight of this production. The sisters’ late mother’s bedroom feels richly detailed and deeply personal, drawing the audience straight into the heart of the family home. From the furniture and suitcases to the smaller details tucked under the bed, the space feels layered with memory.

The room itself appears fractured at the edges, with exposed timbers and flooring that gives way to sand beneath — a subtle but powerful visual metaphor for shifting memories and emotional instability. Lighting enhances this effect beautifully, particularly when the space is illuminated from below, adding an almost unsettling intimacy.

Costumes are firmly rooted in the 1990s and cleverly reflect each sister’s personality and place within the family. A scene involving their mother’s wardrobe is both revealing and genuinely funny, offering one of the production’s standout moments. Music choices help ground the play in its era without overwhelming the storytelling.

Polly Lister gives a confident and engaging performance as Mary, bringing a calm assurance to the role that anchors much of the production. Her delivery of the play’s dry humour is particularly effective, landing naturally and drawing consistent reactions from the audience. In quieter moments, her use of pacing and expression allows scenes to breathe without ever feeling overstated.

As Teresa, Victoria Brazier delivers a performance full of energy and emotional honesty. Her comic timing is sharp, and she moves seamlessly between lighter moments and more reflective scenes. There is a strong physicality to her performance that helps drive the rhythm of the play, and her interactions with the rest of the cast feel instinctive and well judged.

Helen Flanagan appears as Catherine, bringing a bold and expressive presence to the stage. Her performance is full of energy and commitment, ensuring her character’s emotional intensity is felt whenever she is on stage. She leans confidently into the heightened pace of the production, creating a lively contrast with the more restrained performances around her.

Vicky Binns plays Vi, the sisters’ mother, making a strong impression despite limited stage time. Her performance is measured and thoughtful, and her presence shifts the tone of the play whenever she appears. These scenes are handled with sensitivity and add emotional weight to the production.

Charlie De Melo, as Mike, and Reginald Edwards, as Frank, provide solid support throughout. Both deliver grounded and natural performances that integrate smoothly into the wider action, helping to maintain the flow of the production and adding depth to the family dynamics without ever distracting from the central focus.

The Memory of Water at the Octagon Theatre Bolton is a thoughtful, often very funny revival that captures the messiness of grief with honesty and warmth. While it doesn’t always linger as long as you might wish on its most emotional moments, it succeeds in finding humour, humanity and insight in the shared — and conflicting — memories of family life.

This is a play that understands how people really behave in the aftermath of loss: talking too much, laughing at inappropriate moments, remembering things differently and struggling to connect when it matters most. It may not overwhelm you emotionally, but it will leave you reflective, thoughtful and quietly moved — and that feels entirely fitting for a story about memory.

A warm, witty and quietly moving exploration of grief, memory and sibling chaos.

The Memory Of Water is at the Octagon Theatre, Bolton until Saturday 21st February 2026. Tickets are available for purchase through the link provided below.

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Photo Credit - Pamela Raith

*Our tickets for this show were kindly gifted in exchange for an honest review.