A sharp memory hit me as I negotiated the narrow stairway leading to the Jermyn Street Theatre. My last visit in March 2020 was just prior to the first lockdown; artistic director Tom Littler delivered a clarion call for patrons’ support, but was quickly overshadowed by the so-called ‘new norm,’ That was 18 months ago, it feels much longer but it’s good to be back at one of the West End’s hidden gems. The theatre is pretty much as I left it; an intimate space that naturally allows the audience proximity with the performers. Their latest production is a revival of Alan Ayckbourn’s first big hit on the West End stage.
The author is, without doubt, a heavyweight of British theatre, having written 84 plays over a career spanning six decades. Forty have made it onto West End stage with a further ten appearing on Broadway; a glittering record that is complemented by a generous helping of Evening Standard, Oliver and Tony awards. Relatively Speaking is set up on a delightfully old fashioned premise, but works a treat thanks to the brilliantly constructed narrative and a highly talented cast. It throws together a heady mix of confusion, betrayal and mistaken identity that is hard to resist. With a hint of farce and twist of Ayckbourn magic, it becomes a thoroughly enjoyable piece.
The set is adorned with symbols of the 60s including two-tone art, a mini dress and a telephone with a finger dial (yes, it's true kids they really did exist!). The story begins with new couple Ginny (Lianne Harvey) and Greg (Christopher Bonwell) seemingly in the first flush of romance. However, Ginny is the most worldly of the pair; Greg's imagination works overtime and ponders whether she is hiding something. Ginny goes off to see her parents for the day, but in reality, is going to see former lover Philip (James Simmons). Greg secretly follows on and is resolved to ask for her hand in marriage. Chaos ensues as Philip tries to cover the tracks of his affair with Ginny. Philip's long-suffering wife Sheila (Rachel Fielding) relies on tea and sherry to calm everyone's nerves.
For a play written at the height of the 60s, it remains a traditional light comedy with shades of P.G. Wodehouse and a faint nod to the Whitehall farces so popular at the time. It was dated even back then and could not have sat easily in the most radical of decades. Nevertheless, the play sparkles with bright dialogue and intricate plotting that Ayckbourn keeps nicely on the boil. All four actors delivered fine performances with perfectly timed reactions, but the plaudits must on this occasion go to Lianne Harvey, who delivered a delightful turn as the scatterbrained Ginny constantly doubling back to keep the deception going.
Review by Brian Penn
Rating: ★★★★
Seat: E6 | Price of Ticket: £31/£27 concessions
