HOW THE OTHER HALF LOVES

HOW THE OTHER HALF LOVES
at the Theatre Royal Haymarket

07.04.16

This early Ayckbourn – first seen as the Sixties staggered to an end - has all the hallmarks of his greatest work. It remains popular with amateur groups.
But it is wonderful to see a bench-mark production like Alan Strachan's Haymarket revival. Like all the plays of Ayckbourn's golden age, it combines clever technical trickery with comedy of manners. In this case, we are looking at social class, and, suggested by the other meaning of “other half”, marital infidelity.
Two couples from very different strata, the upper-middle Fosters, and the working/lower-middle Phillipses. We see them both at the start of the day. And we see them both at once, since Julie Godfrey's massive set incorporates elements of these two very different décors, and the action ingeniously overlaps.
There is a third couple, unwittingly roped in as alibi for the adulterous flings. As in the best farce, a small indiscretion, a little white lie, forms the unstable foundation of a towering mess of deception and misunderstanding.
The key scene – the one everyone remembers – is the dinner parties; one in each house, on consecutive nights, but played out simultaneously in a truly hilarious set piece, beautifully timed here, especially by the swivelling Featherstones, awkwardly caught up in the web of deceit.
Nicholas Le Prevost, unfailingly funny as obtuse Frank Foster, vague and prone to taking the wrong end of the stick, while his icy wife is nicely done by Jenny Seagrove – a couple who are clearly the prototypes for the elderly Ernest and Delia in Bedroom Farce. Tamzin Outhwaite is the feisty Teresa Phillips, writing unpublished letters to the Guardian, Jason Merrells ss her slob of a husband.  But the most priceless couple – closest to caricature, too - are the Featherstones, “Pinky and Perky”, who foreshadow the Hopcrofts in Absurd Person Singular. Gillian Wright, awkwardness personified, and Matthew Cottle, a buttoned-up old fogey before his time.

The sextet on stage here is pretty near perfect, and the production is polished and perfectly paced. Nice act curtain too, with 60s graphic design [CND, radiogram, clock] and some appropriate tunes: The Other Man's Grass, Suspicious Minds …

We've not seen a new Ayckbourn in the West End for a decade or more. So thanks to good old Bill Kenwright, who toured this piece back in the 70s and brought it into town for a 1988 revival, for reminding us again of the genius at his classic best.

photograph: Alastair Muir

MR FOOTE'S OTHER LEG

MR FOOTE'S OTHER LEG

at the Theatre Royal Haymarket

23.01.2016


Last bow for Samuel Foote, and his biographer Ian Kelly, at the Haymarket. The final performance of this Hampstead transfer, almost 240 years since the real Foote walked out of the stage door of his Theatre Royal and into obscurity.
The play tells the crazy but [largely] true story of a born entertainer, stand-up, impressionist, true crime author, impresario, debtor, cross-dresser and friend of the great and the good.
The foul-mouthed backstage banter is amusingly re-created, with much to learn about the evolution of stage performance. Macklin and Garrick play leading roles, Peg Woffington – the first Polly Peachum – is wonderfully done by Dervla Kirwan. And of course we see Foote himself, in a splendid recreation by Simon Russell Beale. Outrageous en travesti, of course, but also vulnerable, both at the moment of his final defeat, and in the excruciating amputation that ends Act One. Wit aplenty, but clever references to the Bard – then, thanks largely to Garrick, undergoing a resurgence. George III gets his Prince Hal moment at the end. Madness recalls Lear, especially in the storm near the end. Jenny Galloway's grumpy, bawdy stage manager, has some Dresser-style reflections on being “the wife in the wings”, scrubbing gussets and making a career out of the worst bits of marriage ...
But this is not just a back-stage drama. We begin in “the charnel house of horrors” - anatomical specimens. And there's politics and philosophy, psychology and medecine. Benjamin Franklin speaks of the mind/brain problem; Foote suffers Locke's phantom limb, and loses his inhibitions after the accident – caused by a foolish royal wager – which also cost him his left leg, and opened up a whole new theatrical genre.
This is a very funny slice of history – directed with a sure hand but a light touch by Richard Eyre, no less. With wonderful designs by Tim Hatley, and beautifully judged performances by a brilliant ensemble. Joseph Millson is a superb David Garrick, and Kelly himself plays an impressive Prince George, later George III – what! What!. And there's a lot to think about, too – sending us to the book, also by Kelly, which preceded the play. But I wish I'd seen it in Hampstead first. Because, marvellous though it was to see Foote back in the Haymarket, though not on his own stage, the production did sometimes struggle to fill Nash's vast auditorium.