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Posts Tagged ‘Love Love Love’

My reaction to this play continues to evolve 14 hours after leaving the theatre. It’s received rave 5* reviews and one contemptuous 1* one and had I been a star, I’d have moved from 2 to 5 in the last 16 hours. Weird. There’s much to admire, but there are flaws in the structure, pacing and balance.

The Theatre Upstairs has had another of its extraordinary make-overs and now we’re in the living room of a rambling country house stuffed with books, pictures, paraphernalia, grand piano & stags (themselves stuffed) – oh, and a manual air raid siren. Sixty-something Bohemian Lily seems to have dementia and is being looked after by her son Robin who seems unable to look after himself let alone anyone else; he’s fragile and damaged (and stoned most of the time). He’s been homeschooled and mollycoddled and the relationship between them is mutually dependent but rather unhealthy.

Lily passes on and we meet older brother Oliver, chalk to Robin’s cheese. He’s a newly elected MP, seemingly contemptuous of his brother and now dead mother. Back in the house after Lily’s memorial service, Robin is now befriending his ex squaddie dealer Tommy, bribing him to stay. Others arrive – wild child twins Arlo & Scout, who Robin appears to have hooked up with during his post-bereavement escape, and locals 14-year old Coby and trainee policewoman Esme. There’s a touch of sexual ambiguity and a brilliantly staged rave which nearly ends tragically. In the final scene we get the full history during a very moving heart-to-heart between the brothers.

This is even better than playwright Polly Stenham’s promising debut play That Face, though it occupies the same world of the spoilt upper-middle class. However, it’s too slow to take off and holding back so much for the final scene makes it a bit contrived. Robin is treated far too sympathetically and placing all of the blame on the baby boomers (again) lacks objectivity. I went from ‘get on with it’ to ‘how fascinating’ to ‘oh, get a life’ to ‘oh, I understand now’ but after it finished I felt a bit conned. I’d almost succumbed to an attempt to make me feel sympathetic for people who fail to take responsibility for their own lives.

As others have observed, there are echoes of Jerusalem, Love Love Love and Last of the Hausmanns, but it doesn’t have the depth of the former, the warmth of the latter or the structural brilliance of Love Love Love. Production-wise, Jeremy Herrin’s staging and Tom Scutt’s design are excellent. Whatever I think of the character, Tom Sturridge as Robin fulfills all of the promise he showed in Punk Rock. I was impressed by Taron Egerton’s Tommy, a much edgier and dangerous character than his Daniel in the aforementioned Hausmanns. Joshua James & Zoe Boyle are very good indeed as the twins.

Flawed maybe, but definitely worth seeing and, for a third play by a twenty-something, way beyond expectations.

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It’s not often you leave a new play feeling deeply satisfied. Of late, the Royal Court has had the monopoly of those occasions and there are echoes of two of them – Jerusalem and Love Love Love – here. This is good enough to be the pinnacle of a playwrights career, but it’s  playwright Stephen Beresford’s first! At last, we have a fine new play at the National.

We’re on the Devon coast in the home of Judy, an ageing hippie and rebel, with her daughter Libby, son Nick and grand-daughter Summer, exploring the legacy of the 60’s generation and the relationships of the three generations on the stage. Neighbour and GP Peter is a frequent visitor and seemingly benevolent presence, as is shy young Daniel who grows up before your very eyes. Judy’s still rebelling (now against her nimby neighbours), Libby and Nick are rebelling against their mother and each other and young Summer is a teenager (nuff said). Neither Peter nor Daniel are what they at first seem. The characterisations are very deep and the sweep of the play is somehow both epic and personal. The writing is outstanding and often very funny.

This may well be Helen McCrory’s finest moment; from her first unrecognisable appearance, she completely inhabits the role of daughter Libby. Rory Kinnear too is spectacularly good as her drug fueled brother Nick, with the most realistic drunk / stoned acting I’ve seen since Peter O’Toole (and I’m still not convinced he wasn’t – O’Toole, that is).

You can see why Julie Walters wanted to play Judy. It’s one of those larger-than-life characters she excels in, though she is now so familiar we do see Julie underneath Judy at times. There’s also a brilliant performance from Isabella Laughland as Summer and another from Taron Egerton as neighbour Daniel (a professional debut, no less).

Vicki Mortimer has created an art deco  home as wild as its inhabitants which looks just like the famous hotel at Bigbury-on-Sea just down the road, which opens up to reveal three downstairs rooms as well as the garden. The music seems to be from the soundtrack of my life! As always, Howard Davies gets the best out the material and his actors.

This was such a treat that I really didn’t want it to end; I was so enjoying these characters company and their stories – but maybe that’s because I’m a 60’s child too? It will be intersting to see the thoughts of younger theatre-goers. For me, though, not to be missed at any cost.

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