Review – Lettice and Lovage, Menier Chocolate Factory, 21st May 2017

Lettice and LovagePeter Shaffer’s Lettice and Lovage first hit the stage way back in 1987 as a star vehicle for Maggie Smith. I knew that we had seen the play before but I was darned if I could remember seeing la grande dame in the role – I am sure I would have remembered. I can just imagine how she would have grasped it with – well everything you can grasp with.

LAL guidingMove forward another twenty years and none other than Sir Trevor Nunn has directed a spanking new production in the intimate charm of the Menier Chocolate Factory and cast two theatrical favourites – Felicity Kendal and Maureen Lipman. Perfect for this almost two-hander, theatrically genteel boxing match between the guide who embellishes the history of the dullest Stately Home in the country to make it remotely interesting, and the battleaxe from the Preservation Trust who sacks her.

LAL being firedTo be honest, it’s a very slight play and I’m surprised that both Sir Trev and the Menier were that interested in reviving it. It doesn’t do much to illuminate the human condition, although it does appeal to the YOLO generation, as Lettice and Lottie cast care to the wind and become the least likely pals since Margaret Thatcher and Eric Heffer. The play did remind me of the late Dowager Mrs Chrisparkle who for several years post-retirement was a room warden at the National Trust’s property at Waddesdon Manor, and who took great delight in finding out as much about the treasures on display as possible – but there’s nothing more challenging than being asked a question to which you don’t know the answer, and having a fertile imagination can make the experience even more enjoyable!

Lettice and LottieFortunately, this production benefits from two totally delightful performances which make the two and a half hours plus absolutely fly by. No linguistic contortion is too strained for Felicity Kendal’s Lettice, as she recollects the dear old days of supporting her mother and father on the stage, an eccentric Bohemienne to her fingertips, concocting potent jugs of 16th century punch distilled from lovage and eye of bat. Similarly, Maureen Lipman wallows in her opportunity to be the frosty frowsy bossy boss, ridiculing her underlings, putting up with no nonsense, but just wondering if it is time to (nearly literally) let her hair down. Maybe the excellence of the two main performances highlights the patchiness of some of the supporting ensemble, not that that spoils your enjoyment of the play.

LetticeSlight, but funny; you won’t talk about the characters’ motivations or the thematic structure of the play on the way home, but you might well crack up reminiscing about Miss Lipman’s wonderful drunk act or Miss Kendal’s heartier-than-thou ham-Shakespearean verbal dexterity. If ever they cast Women Behaving Badly, they need look no further. The entire run is now sold out, but I doubt if this production, unlike some of the Menier’s other recent successes, would warrant a transfer. Sorry guys, if you’re not already booked, you’ve missed it.

LottieP. S. We didn’t see the original production. I remember now – we saw a production in 1997 with two other Dear Ladies who gave it an equally good grasp – yes, Dr Evadne Hinge and Dame Hilda Bracket. And if you can remember what Hinge and Bracket were like in their prime – I can confirm they were really very funny.

Production photos by Catherine Ashmore

Review – Barefoot in the Park, Oxford Playhouse, 23rd April 2012

Barefoot in the ParkMany years ago Mrs Chrisparkle declared “Barefoot in the Park” to be one of her all-time favourite films, so it was a no-brainer that we should see this new touring production of Neil Simon’s original play, directed by, as well as starring, Maureen Lipman. It was a huge success on Broadway back in the 1960s, but a 2006 revival flopped.

So is it risky to resurrect it again? As the curtain goes up to the strains of Jack Jones’ Wives and Lovers, you expect some 1960s New York glamour, trendiness and sophistication. But of course, the reality is newlywed Corrie and Paul’s tiny basic apartment has no heating and a broken skylight. In New York’s 2006 people felt reasonably affluent and secure in their jobs, and maybe this setting didn’t connect much with those theatregoers. In Britain’s 2012, however, times are hard, and I think we can all understand the plight of the young couple starting out in life with a grotty flat and not a lot of money, but full of hope in their hearts.

So, whilst the play is rather dated in some aspects – in this world of children owning smartphones, Corrie’s delight in having her first telephone delivered and installed is charming but seems anachronistic today – the basic themes of the play are still relevant, and I think it’s a good choice of play to revive. Plenty of young couples still start out with nothing but enthusiasm; there are always going to be potentially tricky mothers/mothers-in-law; and that fine line of blending your leisure time and home life with the demands of your work remains blurry. And of course, as long as people are people, and are therefore flawed, they are always going to be a source of disappointment to their partners at some point, which is when you have to work out your compromises in order to get a happy balanced life together. This is the stark reality that faces Corrie and Paul once the initial excitement of the wedding and the moving in together has died down.

Tim Goodchild’s set very evocatively recreates that top-floor Brownstone apartment – bare and basic, with a very dismal and dirty glass roof; the door to the bedroom that you can hardly open because the bed is in the way; the clothes rail inconveniently far from the bedroom (no space for a wardrobe); the useless tiny kitchen that would be impossible to cook in; all looking tired and drab, but nevertheless suggesting that exciting prospect that with a bit of time and effort you could make it look really swish.

Faye CastelowRight at the centre of the story is Corrie, played by Faye Castelow. Young, idealistic, and keen to experience everything she can, her delight in her new surroundings is a joy – she’s playing at being an adult for the first time and loving every minute. You don’t want life to knock the innocent exuberance out of her, as it inevitably will. It’s a very good performance, quirky and funny, whilst remaining totally within the bounds of reality. She is matched by Dominic Tighe’s Paul, his feet firmly on the ground, aghast at the number of steps you have to climb to get to the flat Dominic Tighe(one presumes Corrie agreed the deal on a girlish whim), deeply in love with her but also very aware of his responsibilities and obligations with work and the more serious aspects of life. It’s an equally good performance. Their second act argument scene is conducted with a splendid mixture of pace, silliness, outrage and genuine disappointment. For me it was the highlight of the play. Through their argument they learn the art of compromise and it’s a heart-warming moment when you realise Paul did actually go barefoot in the park.

Maureen Lipman Maureen Lipman is Corrie’s mother, Mrs Banks, and it’s a beautifully understated comic performance. She conveys all the regular motherly concerns without ever becoming a real nag. The role gives her ample opportunities to show off her brilliant comic timing; and you also get very telling insights into her personal loneliness, which will be more acute now that Corrie is living away from home. On top of all that you can just glimpse that slight twinkle in her eye suggesting there might be a more companionable life ahead for her with Victor, played by Oliver Cotton, Oliver Cottonwho gives a funny but again totally believable performance of the weird neighbour with outrageous tastes and extravagant gestures. Ms Lipman’s direction of the play is what makes this production really tick. It emphasises the laughs within the text – some of the lines are still very, very funny – but without ever going over the top. It could have been tempting to make Mrs Banks a hideous dragon and Victor a grotesque foreigner and poke cruel fun at their backgrounds and attitudes. Instead the production allows all its characters to have their personal motivations and genuine emotions recognised and respected. It makes for a much more believable and rewarding scenario.

David PartridgeThere’s also some entertaining support from David Partridge’s Telephone Repair Man and Hayward Morse’s Delivery Man – how nice (if surprising in this kind of role) to see him on the stage again (original Brad in Rocky Horror, Nick in What the Butler Saw, Tony award nominee in Butley on Broadway, and son of the late Barry Morse). Hayward Morse The full house at Oxford gave a warm reception to this surprisingly thoughtful production of a charming play, with lots of funny lines and a feelgood factor. It’s still touring, and with Richmond and Cambridge still to come, I’d recommend it for an entertaining night out.