This article was first published on tntonline.co.uk on Wednesday 04 February 2009 17:32 GMT.
Alan Bennett’s nostalgic – and surely at least a tiny bit autobiographical – comedy wasn’t a great success when it premiered in 1980. But blessed with some witty dialogue, an occasionally Ortonesque sense of humour and perfect performances in the central roles, Christopher Luscombe’s revival reveals Bennett’s ambivalent nostalgia for a passing era as well as his recognition of the limitations it imposed.
Set in his hometown of Leeds, in the about-to-be-demolished back-to-back terrace where Dad Wilf and Mam Connie are waiting to be relocated to a new high rise council flat, it envisages a surreal scenario in which grey-suited observers arrive to record the everyday life of this working class community before the bulldozers commit it to history. Even when death threatens, these heritage industry officials just watch and take notes without speaking or responding, yet unintentionally changing behaviours by their very presence.
Alison Steadman’s forgetful Mam (unrecognisable in practical pinafore and decade-adding mousey perm) is touching as she cheerfully says goodbye to her memory as well as her home. David Troughton is suitably intransigent as disgruntled Dad (injured in an accident and slobbed out in his chair, he vehemently denies the existence of their estranged gay son whilst idolising daughter Linda and refusing to acknowledge that she’s on the game.)
And, although a few cuts would be very welcome, Carol Macready’s Mrs Clegg is a broad comic treat as a helpfully nosy neighbour who can’t wait to remove Dad’s trousers.
Alan Bennett’s nostalgic – and surely at least a tiny bit autobiographical – comedy wasn’t a great success when it premiered in 1980. But blessed with some witty dialogue, an occasionally Ortonesque sense of humour and perfect performances in the central roles, Christopher Luscombe’s revival reveals Bennett’s ambivalent nostalgia for a passing era as well as his recognition of the limitations it imposed.
Set in his hometown of Leeds, in the about-to-be-demolished back-to-back terrace where Dad Wilf and Mam Connie are waiting to be relocated to a new high rise council flat, it envisages a surreal scenario in which grey-suited observers arrive to record the everyday life of this working class community before the bulldozers commit it to history. Even when death threatens, these heritage industry officials just watch and take notes without speaking or responding, yet unintentionally changing behaviours by their very presence.
Alison Steadman’s forgetful Mam (unrecognisable in practical pinafore and decade-adding mousey perm) is touching as she cheerfully says goodbye to her memory as well as her home. David Troughton is suitably intransigent as disgruntled Dad (injured in an accident and slobbed out in his chair, he vehemently denies the existence of their estranged gay son whilst idolising daughter Linda and refusing to acknowledge that she’s on the game.)
And, although a few cuts would be very welcome, Carol Macready’s Mrs Clegg is a broad comic treat as a helpfully nosy neighbour who can’t wait to remove Dad’s trousers.
LOUISE KINGSLEY
Gielgud, Shaftesbury Avenue, W1 (0844 482 5130) until May 2 (£48.50 - £13.50)
Gielgud, Shaftesbury Avenue, W1 (0844 482 5130) until May 2 (£48.50 - £13.50)
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