The stained and scratched old family photo on the poster for Polly Stenham's That Face suggests a different story to the one which unfolds so compellingly on the stage of the Crucible Studio. Dad looks proud, even smug, while Mum (Martha) seems content enough. Daughter Mia conveys a bubbly personality and only son Henry looks serious. There's no sign of the word "dysfunctional" stamped across the image. But it's there, all right, etched into the snapshot from behind whose golden frame emerges a quite different story, packed with complexity, richness and quirkiness. By the time we encounter this family, money-man Dad has abandoned his sozzled wife and his kids for a new start in Hong Kong. Henry has given up school to become his drug-dependent mother's carer while Mia is threatened with expulsion for some coolly savage behaviour in the dormitory.
The Week In Culture
Another fine and sumptuous mess
Boyd Tonkin samples the New Compassion – and discovers that it gives us a surprisingly easy ride