THE Etienne Sisters is a simple tale, elevated above the ordinary by an evocative and authentic script from writer-director Che Walker which makes effective use of local dialect.

Even so, none of the three distinctly drawn sisters initially invite warmth or empathy.

The judgemental and overly aspirational Tree (Nina Toussaint-White) is full sister to the irritatingly directionless and easy-going Ree (Jennifer Saayeng).

The last of the triumvirate, half-sister Bo (Allyson Ava-Brown), leads a chaotic and delinquent life of petty crime and drug taking.

After a five-year estrangement, and much to the irritation of Tree, Bo turns up uninvited to the funeral of her stepmother.

Manipulating Ree as the weak link, Bo succeeds in inveigling her way back into the family and predictably spreads divisive chaos and turmoil in her wake.

Stealing a drug cache from the local hard-man drug dealer, the unseen Duvivier, she flees to the sisters’ favoured childhood holiday resort of Oban, leaving Tree and Ree to face the music.

The former succeeds in paying off Duvivier by robbing the payroll of her supermarket employer and in the process comes to the realisation that her career ambitions are being trumped by her deep-seated affection for Bo.

In a paroxysm of guilt, Bo uses the proceeds of her theft to replace Tree’s violin which she had previously maliciously destroyed and starts a new life working on the fishing boats in Oban.

A strength of the play is in the dynamic development of the three characters.

Initially appearing one-dimensional, they emerge in combination as complex and subtle, which says much for the strength of the performances.

Video projections are effectively used to illustrate character and context, while the bare stage is dominated by the immense black clam shell of a grand piano, superbly played by talented jazz pianist Nikki Yeoh.

The songs by Anoushka Lucas are not particularly memorable, although they emerge seamlessly from the spoken text and effectively complement the narrative.

The vocal performances are strong and at their most effective when, as in the narrative development, the three voices combine in fluid and subtle harmonies.

Runs until October 3, box office: stratfordeast.com

Review by Dennis Poole