April 26, 2010
Eric Chappell has written numerous stage plays and screenplays since the seventies but Rising Damp remains his greatest success as a writer—both critically and commercially. It was only natural then that before I had even received my tickets, browsed through the programme, or taken my seat in the Oxford Playhouse auditorium, my expectations of Wife And Death were very high.
Thankfully, Tom Conti and Tom Kinninmont’s slick direction has kept Chappell’s newest play as kinetic and light as possible. Despite a couple of quite predictable plot twists and a conclusion which, had it not been for such believable central performances would have seemed quite bizarre, I found the story lively and engaging; with just enough intrigue to keep me interested in between the chuckles.
Set in Dave’s front room, Wife After Death revolves around the funeral and cremation of a popular British comedy actor, Dave Thursby, and the repercussions of his death on family and friends. This may initially sound like quite a morbid backdrop for a play but the decor—a mixture of faux Roman decadence and eighties grot, reminiscent of the early nineties—was ridiculous enough to expel any sense of morbidity. Sound and lighting were kept as natural and unobtrusive as possible.
Performances were uniformly excellent, and many of the play’s most entertaining moments came as a result of the excellent ensemble work in scenes where most of the cast were onstage together; although Tom Conti’s shuffle footed turn as Harvey Barrett (Dave’s best friend and writer of the sitcom that made him famous), was especially assured. Also of note was Diane Fletcher’s condescending yet warm portrayal of Harvey’s long suffering wife, Vi, and Royce Mills’ animated depiction of Dave’s stuttering agent Kevin Prewitt.
Wife After Death seems to be as much about the legacy of a writer as it is about the mourning of a friend, if not more. It’s unsurprising, then that the play’s strength is its dialogue and its weakness, the shaky plot. Still… it is very good dialogue! Whether focused on the past or the present, Chappell’s candid perspectives on friendship, fidelity, social class, celebrity, and death have not only spawned several scorching one liners, they have also informed this intensely personal play with enough underlying philosophy to ensure his words will live on in one’s head long after the curtain drops.
Thankfully, Tom Conti and Tom Kinninmont’s slick direction has kept Chappell’s newest play as kinetic and light as possible. Despite a couple of quite predictable plot twists and a conclusion which, had it not been for such believable central performances would have seemed quite bizarre, I found the story lively and engaging; with just enough intrigue to keep me interested in between the chuckles.
Set in Dave’s front room, Wife After Death revolves around the funeral and cremation of a popular British comedy actor, Dave Thursby, and the repercussions of his death on family and friends. This may initially sound like quite a morbid backdrop for a play but the decor—a mixture of faux Roman decadence and eighties grot, reminiscent of the early nineties—was ridiculous enough to expel any sense of morbidity. Sound and lighting were kept as natural and unobtrusive as possible.
Performances were uniformly excellent, and many of the play’s most entertaining moments came as a result of the excellent ensemble work in scenes where most of the cast were onstage together; although Tom Conti’s shuffle footed turn as Harvey Barrett (Dave’s best friend and writer of the sitcom that made him famous), was especially assured. Also of note was Diane Fletcher’s condescending yet warm portrayal of Harvey’s long suffering wife, Vi, and Royce Mills’ animated depiction of Dave’s stuttering agent Kevin Prewitt.
Wife After Death seems to be as much about the legacy of a writer as it is about the mourning of a friend, if not more. It’s unsurprising, then that the play’s strength is its dialogue and its weakness, the shaky plot. Still… it is very good dialogue! Whether focused on the past or the present, Chappell’s candid perspectives on friendship, fidelity, social class, celebrity, and death have not only spawned several scorching one liners, they have also informed this intensely personal play with enough underlying philosophy to ensure his words will live on in one’s head long after the curtain drops.