Benefactors at The Oxford Playhouse

Jeremy Sam's production of Michael Frayn's Benefactors opens on a kitchen table, and scarcely strays from it through the course of the play; the plot follows the plans of architect David (Aden Gillett) to build Local Authority housing in south London in the early 70's, and the impact of the project upon his wife, their neighbour & her husband.

Throughout the play the four cast members regularly break from the stage action to address us as an audience, and whilst this mechanism allows a swift insight into the characters' initial motives and intentions, it begins to drag as the play goes on. Transition from scene-to-scene is very fluid however, and owes much to the sumptuously smooth lighting of Tim Mitchell, who succeeds admirably in consistently creating both emotional and chronological mood.

The first half delivers strong character performances by all, but things begin to slip noticeably after the interval, where the pace of the play accelerates and more emotional depth is often called for - Emma Chambers engaging portrayal of the pitiful Sheila is marred by the play's fey climax which almost wholly fails to deliver, and Neil Pearson's sardonic Colin becomes even less winsome as he loses interest in his battle with David, and we begin to lose our interest in him.

Much as with Frayn's fiction, the writing is at times sparkling, but at its rare worst empty, devoid of any real substance or message - the play delivers little of political or philosophical merit, although it seems to edge towards both consistently. Jane (Sylvestra le Touzel) the social anthropologist appears perceptive and grows in confidence through the play, but at its end would appear to have become only distanced from the people with whom she continually strives to connect.

The play seems somewhat out of its time - and our 21st century perspective of 1970's action reviewed from the 1980's only serves to confuse what is already somewhat vague - often the enchanting grey-walled, oak-floored set seems a more tempting point of focus than the action, which is a great shame. This very British tale of kitchen tables, council flats, dreary relationships and protesting squatters may well draw regional audiences with its promising cast, and feted production team, but it will have a hard run when it reaches the West End.

James Dare 11.06.02