Death, betrayal and cake – they’re all here in this version of a play that premiered in 2005 to popular acclaim. The Players are on familiar territory with Losing Louis, as the themes include family estrangement and the power of mortality; elements not far removed from two recent productions by the dramatic society, Memory of Water and The Weekend.
Simon Mendes da Costa’s saga centres on one bedroom. The play switches between the 1950s and the present day, the different eras being indicated by a change in lighting – the past is lit with a soft golden glow, while a cold light leaves everything in the contemporary scenes open to scrutiny.
Half a century ago, Louis Ellis (Adie Gargan) was frolicking with nubile lodger Bella (Beatrice New), realising too late that his young son Tony was watching. This infidelity has disturbing consequences; we learn gradually how more than one person has discovered what went on that night. In the present day, we see Louis' two sons, Tony and Reggie, with their wives, meeting for Louis' funeral. The play features some earthy humour, and prudish theatre-goers might find the more anatomical banter a little uncomfortable.
Jewish identity is a recurring theme. There is a certain amount of tension as a result of Louis being a Jew with a wife, Bobbie (Sara Miller), who is a convert, and also having a Jewish mistress.
Down-at-heel Tony (Terry Glossop) is a miserable soul, bitter at the success of his younger brother Reggie (Steve Ashcroft). When the two meet for the funeral (which turns out to be a rather Christian – and waterlogged – event despite Louis’ Judaism), the brothers seethe and their wives Sheila (Deborah Lisburne) and Elizabeth (Lesley Riding) snipe at each other over matters such as who will inherit a clock. Meanwhile, Tony drinks too much.
It’s difficult to know if we are meant to sympathise with the characters, as in general they are a petty, vindictive and often vulgar lot. However there are some laugh out loud lines (particularly the more ribald stuff, such as jokes about a ‘missing’ wedding ring) and while nothing especially profound is explored, there is a life-affirming edge to the encounter between the brothers.
It’s a capable debut for director Gareth Hammond, who I suspect will be keen to do more in this field whilst remaining a versatile actor. The stage set, designed by Mike Donnelly, is impressive and Sean Moore and Tony Robinson are clearly adept behind the scenes.
Simon Mendes da Costa’s saga centres on one bedroom. The play switches between the 1950s and the present day, the different eras being indicated by a change in lighting – the past is lit with a soft golden glow, while a cold light leaves everything in the contemporary scenes open to scrutiny.
Half a century ago, Louis Ellis (Adie Gargan) was frolicking with nubile lodger Bella (Beatrice New), realising too late that his young son Tony was watching. This infidelity has disturbing consequences; we learn gradually how more than one person has discovered what went on that night. In the present day, we see Louis' two sons, Tony and Reggie, with their wives, meeting for Louis' funeral. The play features some earthy humour, and prudish theatre-goers might find the more anatomical banter a little uncomfortable.
Jewish identity is a recurring theme. There is a certain amount of tension as a result of Louis being a Jew with a wife, Bobbie (Sara Miller), who is a convert, and also having a Jewish mistress.
Down-at-heel Tony (Terry Glossop) is a miserable soul, bitter at the success of his younger brother Reggie (Steve Ashcroft). When the two meet for the funeral (which turns out to be a rather Christian – and waterlogged – event despite Louis’ Judaism), the brothers seethe and their wives Sheila (Deborah Lisburne) and Elizabeth (Lesley Riding) snipe at each other over matters such as who will inherit a clock. Meanwhile, Tony drinks too much.
It’s difficult to know if we are meant to sympathise with the characters, as in general they are a petty, vindictive and often vulgar lot. However there are some laugh out loud lines (particularly the more ribald stuff, such as jokes about a ‘missing’ wedding ring) and while nothing especially profound is explored, there is a life-affirming edge to the encounter between the brothers.
It’s a capable debut for director Gareth Hammond, who I suspect will be keen to do more in this field whilst remaining a versatile actor. The stage set, designed by Mike Donnelly, is impressive and Sean Moore and Tony Robinson are clearly adept behind the scenes.