"Rabbit Hole" by David Lindsay-Abaire.

Nottingham Lace Market Theatre.

Becca and Howie Corbett are a happy suburban couple who have everything a couple could want. Their lives are suddenly changed forever when their young son Danny is killed in a life shattering accident.

Eight months on, which is where this play starts, they are drifting apart. Becca wants to start afresh in a new home and give away their son's possessions, but Howie, who continuously watches home movies of their little boy, wants to keep the memory of Danny alive.

"Rabbit Hole" presents a tragedy and its consequences with utter candor, and without sentimentality. The dialogue is impressive for capturing the awkwardness and pain of everyday thinking people faced with an unthinkable situation—and eventually, their capacity for survival, and even hope for the future.

First off, let me say that I had completely under estimated the power of this play. First as a play itself, and the performances of the cast, and also how parts of this story affected me personally.

Becca, played by Ellen Woszatka, is married to Howie. She is affected by everything in the house that reminded her of Danny, trying to hide them away from sight, but keeping her son's room exactly as it was.

It's not that she is trying to forget, just that she is managing the loss in her own way, something that Howie doesn't quite get his head around, at this time.

Ellen, I have seen previously at The Lace Market and in this role brings a calming air to this character; but it could also be mistaken to be a matter of fact, soldiering on attitude. the relationships between the one to one sections of the play are absolutely superb. From the comedy sisterly talk at the opening of the play with Izzy, to the powerful and emotive arguments with Howie, and then to the maternal concern for Jason, Ellen brings the emotional range just perfectly.

Simas Kuliešius plays Howie, Becca's husband. Howie has a hard time dealing with Danny's death, which causes him to be angry and depressed, though he hides it as much as possible, and thinks that the best way to move on is to try for another child.

Simas is new to the Lace Market Theatre, but what a discovery in this man. His comedy delivery is very dry but his arguments with Becca are explosive, and they will take you quite by surprise with the power and passion that Simas puts into these scenes.

There's a section where you just want to go and give him a hug regarding one of the tapes that he had filmed his son on. I don't know about Simas' stage history but I hope that his future involves more plays at the Lace Market Theatre.

Issy is Becca's irresponsible but well-wishing sister. She is not married, but in a relationship, and is pregnant throughout the play. I must confess that the "pregnancy bump" is probably one of the most realistic that I've seen on stage; sometimes they look like the actor has stuffed a football down their costume, but this was incredibly lifelike.

Tension is created as Becca's mourning for her lost child lingers, and is suspicious of Izzy's ability to raise her own. Played by Nicole Driver, this is her first acting role for the Lace Market Theatre, but she did a brilliant job directing "The Importance Of Being Earnest" previously. The opening scenes with Becca are very funny, and as the play goes on, you can see the similarities of these stage sisters in something that Becca does. The chemistry between these two actors as stage siblings is utterly believable.

Nat is Izzy and Becca's mother, and the voice of reason for her daughters. Who better to play a character assigned to being "the voice of reason" but Carol Parkinson?

I've had the pleasure of seeing Carol on stage many times, and in so many various roles, and she never disappoints. I love the New York/ Jewish accent that Carol presents, and also the character's train of thought pattern. There's a lot of comedy lines and threads brought by Carol as Nat, but there's also a scene where it's just Becca and Nat, sorting out Danny's room that will counter the comedy like a slap in the face.

Louis Street is Jason, the 17-year-old boy who accidentally hit Danny with his car, leading to Danny's death. He later shows up, wanting to talk to Howie and Becca. Howie wants no part of it, but Jason later meets with Becca.

He is well aware that he is responsible for their son's death and the scene where Jason and Becca sit down to discuss this, again is a mix of emotions.

The awkwardness from Jason as he tries to get across how he feels and possibly the reason why the accident took place in the first place. There's also some lovely lighter moments as he almost relaxes but starts to talk ten to the dozen about his life.

The pauses last just the right amount of time to be awkward to the audience, and those quiet gaps say just as much about Jason, and the situation, as the scripted parts. Louis is another young actor who I've not seen previously but what a powerful young actor he is, if this is just a taste of his acting ability.

The writing is so strong, and so natural, and includes a lot of space for laughter; one minute you could be on the verge of tears, the next those tears would be tears of laughter, and most importantly, it reflects life.

We've all lost someone so dear to us, but it's the different ways that we, as an individual, deal with that loss. It's also about connectivity with those closest and finding a way through grief and sticking together to reach that light at the end of the darkest tunnel.

There's a section that runs for a while about one of Becca's friends not contacting her after Danny's death, which Becca takes offence to and refuses to contact her to see what the matter is. Then as the play progresses, we discover the reason why the lack of contact is there.

That is only a sub plot, but that to me is a very powerful sub plot as it gives you an understanding of what other people are experiencing, outside the main circle, and creates an understanding, something I've experienced, which shows that this play is like holding a mirror up to the lives that we all live.

Directed by Christopher Collins with Assistant Director being Ali Litvinova. One thing I always seem to be going on about is the pace of a stage production.

Well, this is a lesson in pacing a production. Someone once said that the gaps that are left in a play are just as, if not more important, than the scripted sections. This production holds that opinion up high because this is a play that is awkward for the characters, due to the loss of a child, and the feelings and emotions that naturally are contained.

Life can be awkward and there are gaps which accentuate that not knowing what to say moments. Getting that across is not as easy as you'd think, but Chris and Ali have made those gaps just as important and effective as the passion and power in the spoken word. That is a gift that not every Director can give to their audience.

Not sure if there was a speech coach for the accents but the softer "New Yoik" sound was fluent throughout without any meandering anywhere over the Hudson or past Yonkers. If there wasn't, and there's no mention of one, this again shows just how hard the cast have worked to keep the play as true to its' original roots as possible.

The set design is by Chris Collins and Evie Watson. The home is set on two levels with Danny's bedroom being on the same level as the auditorium. the upper, stage part covers the main room with dining area and lounge area. I love the fact that there's a working fridge freezer on stage, stocked with food and drinks.

I must mention the props, because apart from anything else there is real food on stage, meaning that the cast get fed and watered every night. the only problem is just the look and sound of that creme caramel and the lemon cake got my mouth watering. I wonder how much weight the cast will put on by the end of the run?

Lighting design and operation is by Allan Green. Simple but effective partial fade at the end of the scenes. You don't need a fancy lighting display with a play like this, just he information passed on by fading stage lights to inform every one of the scene change. Thanks also Allan for letting me see your Leonardo Mk2!

Sound design is by Philip Hogarth and operation by Philip with Simon Carter. So subtle are the effects from outside the stage area, that you just take them for granted, which is how the sound design should be. the design and operation may not be as simple as they sound on stage from the audience, but that, again as with the lighting, shows that these technical people know what they are doing and are damn good at their jobs.

David Lindsay-Abaire's script, and this talented cast and crew, will give you something to talk about, even after you've left the theatre. It's not a play that you'll forget in a hurry, and if you enjoyed - if that's the right adjective - the play "Punch" that was recently at the Nottingham Playhouse, you'll see echoes of that in this story as it's just as thought provoking as that one.

"Rabbit Hole" is at the Lace Market Theatre until Saturday 29 June.