Set in the fag-end of the 1930s, Terence Rattigan's second
play is a judgemental look at the not-so-bright, not-so-young things still
trying to party as the next generation is busy stacking up the chairs.
Originally the play opened in 1939, and only ran for a few weeks before
the war changed everyone's concerns. Since then it has had something of
the reputation of a lost masterpiece, but Rattigan himself described the
play as "turgid" and certainly it is rather wordy and earnest,
and occasionally overflows with the bitterness of recently lost innocence.
Still, Oxford Stage Company's show is fine matinée fare, full of
melodrama and cliché (though none the worse for that), and a great
opportunity to see TV comedy regulars giving some outrageously fine performances.
We open with a young woman falling for her boyfriend's much older, married
guardian, deciding she knows what is best for him, and setting to sorting
out his life, starting with the drink.
This rather slight story of sexual attraction and disapproval across the
generations blooms into a proper three-hanky tragedy as poor David (an
endearing Michael Siberry), bumbling and easily led, is prised from his
wife, played with brittle sophistication and poignant desolation by Catherine
Russell, by Helen (an ambitious performance from Anna Hope), nicely unlikeable
with her beauty and youth and monopoly on truth. Jamie Parker gives a
superbly sensitive performance as jilted boyfriend and wronged son Peter
from his priggish first appearance to his tarnished reprise in the final
act. Star turns come from Bob Barrett, unrepentently parasitic as the
couple's ambiguous flatmate, the deliciously drunk and disgraceful Joanna
Scanlan, a splendidly acidic Joanne Howarth as Miss Potter, and an amusingly
monosyllabic Ed Grant. This is splendid technicolor fare, full of stiff
upper lips and hard romantic choices, and highly recommended.
Jeremy Dennis 19.11.02
|