Jumpy at The Duke of York's

Another day, another dysfunctional middle-class family.  This time at the Duke of York’s Theatre with Jumpy, a wonderfully funny, rude and at times moving new play by April de Angelis, which has transferred from The Royal Court.

Hilary, beautifully portrayed by the magnificent Tamsin Greig, is a mother with a problem, a problem all too recognisable to any parent who has, or has had a teenager in the family.  The teenager in this instance is stroppy, 15 year old Tilly (an excellent Bel Powley) who leaves the house looking twice her age and is found to be sleeping with her equally young boyfriend.  As a supposed liberal, fifty year old middle class London mother who once protested at Greenham Common, Hilary is at a loss as to how to react to a daughter who treats her with undisguised contempt.  She endures panic attacks on the tube, especially as she has the added worry that her job might be on the way out, so the obligatory glass or three of wine is essential to her well being whenever she arrives home.  There is no succour to be had from a passionate husband either, as sexual antics with him have long been replaced by her reading him excerpts from Great Expectations when they retire to the marital bed.  The marriage eventually grinds to a halt and she is subsequently hit on by her daughter’s boyfriend’s father (a self regarding actor very well played by Richard Lintern).  She doesn’t know whether to be fascinated, flattered or frightened.  In fact the whole play hinges on how Hilary should behave to whatever situation comes her way, which is why Greig is so perfect in the role.  She manages to convey exasperation, despair and the all encompassing maternal love, whilst treating us to comedic touches and several side splittingly funny moments.  Doon Mackichan as her best friend Frances also delivers on the comedy front.  Her decision to resuscitate a flagging theatrical career by showcasing a new burlesque routine is excruciatingly embarrassing and hilarious, as is her futile attempt to persuade Hilary to mirror her sexual aggressiveness. 

The writing is so very true to life and I defy any modern parent not to recognise the moment when they try to have a serious conversation with their offspring and the recipient of their words of wisdom is far more interested in studying their mobile phones.  The emotional truth is there for all to see and I love the way April de Angelis keeps you guessing as to the play’s outcome.

Nina Raine’s direction is tight and expertly merges the play’s comedy and deeper feeling.   Jumpy is yet another Royal Court success story.

The Last of The Haussmans at The Lyttleton

When I saw Julie Walters was returning to The National, the decision to book to see The Last of the Haussmans was a no brainer.  Watching it rather later on in the run than normal, I had already read the various professional critics air their views and they had somewhat dampened my excitement, but not too much.  After all Helen McCrory and Rory Kinnear are also in the cast, so the odd three rather than four stars really shouldn’t put me off.  And, as far as I’m concerned they didn’t.  Various criticisms over stereotypical characters and the production lacking in a searching or satisfying outcome doesn’t hold water with me.  Because, at the end of the day (or very enjoyable evening) the actor, Stephen Beresford’s first play delivers scorching one liners, a superb cast and a great, fun night out.

Judy (the national treasure that is Julie Walters) is an ageing hippy who lives in a ramshackle but beautifully situated, boat inspired house overlooking the sea somewhere in the West Country.  Her offspring, Libby (the excellent Helen McCrory) and Nick (the beautifully restrained but oh so believable Rory Kinnear) are staying with her as she recuperates from cancer surgery.  Neither particularly want to be there, scarred as they are by Judy’s less than satisfactory early parenting skills and ability to embarrass them whenever she opens her mouth.  Likewise, Libby’s fifteen year old daughter, Summer (Isabella Laughland - a complete natural), although her beef isn’t with her mouthy grandmother but with her mother, who has a propensity to fall in love, not only with the wrong men, but with men who are way too old.  Throw into the mix a local married Doctor, Peter (the very watchable Matthew Marsh) who flirts with Judy, who wouldn’t say no to a sexual invitation that unfortunately won’t happen because he has his eyes set on Libby, plus the young, fit Daniel (an excellent debut by Taron Egerton) who secretly fancies Libby but is lusted over by the gay, ex junkie, Nick and hero worshipped by Summer and the scene is set for melt down.

They all have issues.  Judy has never really become a grown up and is still locked into the sixties, yearning to return to India.  She comes alive when the Doc calls round, in what amounts to sixties fancy dress and they reminisce about the good times, bringing them back to life by singing, playing guitar or playing very, very loud music, much to the consternation of her children.  The uptight and bossy Libby is starved of love and is concerned about whether or not her and Nick will inherit the house.   Brother Nick, also unlucky in love, is a neurotic, camp, ex junkie with kohl rimmed eyes and a wonderful air of vulnerability, who doesn’t enjoy being Mummy’s favoured child.  Summer is an angry teenager who, when not swigging alcohol, sits and glowers.  In fact the whole household doesn’t wait until sundown before opening the gin bottle, apart from Daniel, who appears as if from nowhere and watches.

Howard Davies directs a tightly knit production, squeezing out laugh after laugh.  Not too difficult a task because each cast member is more than adept at perfect comic timing.  The scene where Nick, palpably embarrassed and uncomfortable, tries to make conversation with Daniel will stay with me for a long time – brilliant.  Vicki Mortimer’s crumbling house, decorated as a tatty shrine to hippiedom is pitch perfect and the accompanying sixties tracks are spot on.  How wonderful is it to hear Family’s Roger Chapman’s distinctive voice again?

As you can probably gather, I loved it and if I were giving out stars I’d go for five!

The Doctor's Dilemma at The Lyttleton

Due to the Olympic panic surrounding travelling to and around London last night, our earlier departure meant we arrived at The National somewhat earlier than normal;  five pm to be exact.  But, no matter, there is always something to do or see in this wonderful space and the absence of a rushed drive meant the minimum of stress.  A plus, because, even though last night the stage at The Lyttleton was littered with the medical profession, there wasn’t one of the Doctors I would trust with diagnosing or treating anything!  Which was obviously one of the points Bernard Shaw was making when he wrote the play in 1906, as a challenge from his friend, the theatre critic, William Archer, to write a tragedy involving death. In fact the play, The Doctor’s Dilemma, turned out to be a comedy with the subtitle of “A Tragedy”.

The play centres around Sir Colenso Ridgeon a much feted surgeon who has discovered a new inoculation against TB.  The beautiful Jennifer Dubedat begs him to save her artist husband’s life, but Ridgeon has a problem in that he can only cure a small number of patients.  When he discovers that Louis Dubedat is an out and out scoundrel and that he himself has fallen in love with Mrs. Dubedat, his dilemma is whether he uses his skill to cure the artist or a worthy fellow doctor.

Thus Shaw, in highlighting a time when private doctors charged a small fortune for pointless operations, has produced a relevant play for today, when profit is often put before the patient’s good.  Ridgeon’s three eminent doctor friends, Mr Cutler Walpole (Robert Portal) Sir Ralph Bloomfield Bonington (Malcolm Sinclair) and Sir Patrick Cullen (David Calder), although perpetually sending up their self-important characters, just about manage not to slip into caricature and provide Act One with plenty of laughs.  Malcolm Sinclair is particularly funny, despite mercilessly hamming it up.

Genevieve O’Reilly makes a worthy Jennifer Dubedat and leaves us in no doubt that she adores her feckless husband, but she is somewhat lacking in the facial acting department.  Nevertheless she kind of makes up for that when partially disrobed in Act Two;  the actress has an amazing figure!!  Tom Burke’s Louis Dubedat on the other hand is excellent.  He makes us ultimately like a dislikeable rogue which is no mean feat.  Actually there is no weak link in the whole cast, although for me the acting honours ultimately belong to Aden Gillett as the self-satisfying Sir Colenso Ridgeon.  When he looks at himself in the mirror and smooths down his hair before admitting Mrs Dubedat into his consulting room, we are in no doubt that this is a vain, although ultimately tragic man.  He is about to sacrifice his professional conscience to his physical desire.

Peter McKintosh’s sumptuous design and Neil Austin’s atmospheric lighting cannot be faulted.  They perfectly highlight the differences between the affluence of a private medical practice and poverty of Dubedat’s artist studio.  Meanwhile Nadia Fall’s direction is spot on.

If only Mr Shaw had had more of an idea as to how to conclude the play. Then the prognosis would be even more positive.