An ambitious young architect has a great vision for social housing in some decaying corner of SE15, something that will provide decent accommodation whilst enhancing community spirit. His kindly wife keeps open house for their needy neighbours, whilst doing his admin and looking after the kids. The two guys were obviously at college together and the other chap has gone into journalism, whilst his wife, a sometime nurse, has gone into some form of depression.
But all is not as it seems. The friendships and marriages are fragile. Petty jealousies and rivalries come to the fore; and roles and values change. As the reality of dealing with planners, builders, utilities and so on gets progressively harder, the great vision for social housing becomes a little eroded. Compromises are made. Low rises become high rises. High rises become very high rises. Decent community housing becomes a mere tool for getting a job done; and something breaks between the four of them. I won’t tell you more of the plot because it’s an intriguing comedy and as it develops, the characters become more honest and the true nature of their relationships gets revealed.
Simon Wilson plays architect David, and his journey from noble visionary to cynic is very credibly done. It’s a solid central role, a character who sometimes can’t see the blindingly obvious, and his internal battles of self-confidence versus growing defeatism are nicely judged. His old friend and later rival Colin is played by Andrew Woodall, whose apparent reverse journey of cynic to visionary is also very well portrayed. His deflated disappointment with a life, a job and a wife none of which he rates particularly highly, all contribute to his being rather a nasty piece of work, and he carries it off well.
However, I enjoyed the performances of the two women rather more. David’s wife Jane is played by Abigail Cruttenden, bringing out all the comic nuances of being nice as pie to Colin and his wife Sheila whilst actually finding the open house situation drives her mad, really disliking Colin and being frustrated with Sheila. When Colin manipulates her in the second act to a position of working against her husband, her distaste for what she is doing is both sad and funny, and her enthusiasm for how her role subsequently develops is also very amusingly done.
At first you think Rebecca Lacey’s Sheila is going to be a mousey mute but her journey of self-development is extremely well portrayed. When the mouse eventually roars it’s a very telling moment. With something of the 1970s Prunella Scales about her, during the course of the play step by step she pieces back together again something of a new life, courtesy of her benefactors. It’s another excellent performance.
The creatively flexible space that is the Crucible Studio is given over to a simple kitchen set, with just a few kitchen implements and bits of crockery and a functional kitchen table big enough to feed the neighbours and to spread out architectural drawings. It’s a straightforward set for a straightforward production that lets the text do the talking, and weaves an entertaining tale of what happens when you are practised at being good to others. It’s a very cleverly constructed play – I liked how it’s Jane who takes the confessional role in the first act and David who assumes that role in the second. But I still feel that the play’s vision is a little cramped – perhaps I was comparing it too much with the broad brush of “Democracy” that we saw earlier that day – and whilst it’s a good play, I don’t think it’s a great play. However, Mrs C enjoyed it somewhat more than I did and feels the characters’ journeys are very provocatively portrayed and that it says a lot about the nature of relationships and idealism versus reality. I’ll leave it up to you to decide who is right!