…and what have we done? Last year very little as we were in another lockdown. En route to the theatre last week, I noticed that a well known fast food chain was promoting its Christmas sandwich…in July. A clever move or a bit of summer madness? Heading their advertising campaign was Noddy Holder, the Slade frontman who will be forever remembered for that scream of “It’s Christmas!” during their hit song, Merry Christmas Everybody. That was my festive hors d’oeuvre in advance of seeing Alan Ayckbourn’s black comedy Absurd Person Singular (Yvonne Arnaud) which is about three married couples holding three Christmas parties and the goings on in their three respective kitchens. It’s the 1970’s, which is becoming something of a refrain for this column during the past few weeks with several productions being from that decade. Retro is de rigueur.
We begin with geeky, forward-looking Sidney Hopcroft (Paul Sandy), a small-time tradesman who persuades OCD (obsessive-compulsive disorder) wife Jane (Felicity Houlbrooke) for whom any smudge or stain is a nightmare, to throw a Christmas party hoping to find favour with his superiority complexed bank manager Ronald (Graham O’Mara) and local architect Geoff (John Dorney), a man to whom misogyny comes naturally. The celebrations get under way and this being Ayckbourn all is not what it seems. Jane’s kitchen becomes the confessional exposing attitudes towards class, status and ambition. The following Christmas Eve sees a more confident and successful Sidney and Jane, Ronald and wife Marion (Rosanna Miles) at a party hosted by Geoff and wife Eva (Helen Keeley) while in Act III Sidney and Jane effectively invade and dominate the evening. Sydney is on the up while the other two outwardly successful couples are now being exposed as marriages mired in disagreement and potential breakdown.
Ayckbourn’s writing is astute, witty and perceptive, capturing the attitudinal behaviour of the period and although the first act didn’t quite take off in the way I expected, Michael Cabot’s production picked up the pace thereafter and the rollercoaster ride became much more enjoyable. Some of the funniest moments are revealed in the very awkward silences when facial expressions and body language speak a thousand words. The characters are a little too caricatured for my liking and the play does now feel not just dated but would have limited appeal for a contemporary audience. Especially the language. That said the average age in this audience was sixty plus.
Simon Scullion’s set is quintessential 1970’s suburban kitsch, each home having its own stamp of the period. The lino patterns were amusingly nauseating. The quirky character portrayals are well executed by a talented cast with Rosanna Miles being the most memorable as she lays bare her alcoholism caught as she is in an unfulfilled relationship with husband Ronald. Helen Keeley also impresses as pill popping Eva, a woman beset with depression.
A festive sextet to put you off your July turkey sandwich but with enough humour and quirkiness to keep the party games buzzing along.
Meanwhile Gracia Erinoglu gets down with the young lovers…
Ola Ince’s production of Romeo & Juliet (Shakespeare’s Globe) is an entertaining hybrid of traditional interpretation with a modern twist. The underlying message is about suicide and mental health of our youth and at certain points during the show actors step forward and give us harrowing statistics. The production also has a nod to gang culture and its horrible impact on some young people.
Sirine Saba (Nurse) steals the show with great comedic timing and although Rebekah Murrell (Juliet) has a beautiful singing voice her speaking tone is more about volume than subtlety. The Capulet Ball is fabulous, a combination of a squat, karaoke and warehouse party and everyone is high as a kite. Adam Gillen (Mercutio) is a cheeky chappy from “up north” and in parts reminded me of The Joker. Full on at times but he did calm down thank god. Alfred Enoch (Romeo) is a little uneven in the overall portrayal but still impressive and Silas Carson (Capulet) is terrific. The young lovers have truly embraced twenty first century Britain.
Finally, commiserations to England and congratulations to Forza Italia, the football team not the political party. In the end football went to Rome and didn’t come ‘home’.
Absurd Person Singular – on tour
Romeo & Juliet – www.shakespearesglobe.com