Alan Bennett’s new play at the Lyttelton Theatre rather gathers momentum as it goes along.
After a brief opening scene in which Dorothy (Frances de la Tour) and Iris (Linda Bassett) appear for now inexplicably oblivious to the startling appearance of a semi-naked Robin Pearce as Colin, we are then catapulted back a brief while to discover how they try to amuse themselves and keep warm huddled round an electric fire, in a small space they now occupy in a once grand house that they can no longer afford the upkeep of.
Iris knits and interjects randomly while Miles Jupp, as an auctioneer of dubious intent, takes an inventory of the contents of the attic. On Dorothy’s return events begin to unfold at a gradually accelerating pace. We meet Dorothy’s sister June (Selina Cadell) and eventually her old flame Theodore (Peter Egan) and Dorothy makes increasingly unsuccessful attempts to keep all these people, apparently of equally questionable trustworthiness out of each other’s sight hindered by Iris, who seems to have an agenda of her own or, possibly, none at all.
Dorothy cannot stand the thought of People traipsing through her home if they take June’s favoured option of handing the house to the National Trust. She has no hankering to become an exhibit and much prefers the idea of an attic sale or, better still, selling up to “The Concern” who promise her a good return and a flat with a non-arctic bathroom. It is Theodore’s unexpected arrival that seems to offer a third choice; that of using the house as a studio for the making of low-budget porn films.
By the time we arrive at the second act the situation has been well and truly set up for a sequence of events that demonstrate Bennett’s unique skill with the ridiculous and absurd, all carried along on a tide of dialogue that consistently lives up to our expectations in its wit and observation.
The designs for this play do give a real sense of decaying grandeur,with the single room set occupying the whole of the substantial stage at the Lyttelton. Dusty, moth-eaten curtains and draped pictures and furniture set the scene for a once great room in dilapidation while the lighting by James Farncombe adds the final touch of atmosphere to the production.
This play shifts along at quite a pace once it gets into gear and has plenty of Bennett's familiar wordplay and clever observational humour. There is a very strong cast led by a characteristically imposing performance from de la Tour. The supporting ensemble time everything splendidly and all the business is carried off with aplomb.
The transformation scene, when it comes, has something of an inevitable predictability about it, but the conclusion is both satisfying and, in an odd way, believable, despite the absurdity of the situations that lead to it.
People runs till 15th May 2013 at the Lyttelton Theatre after which it commences touring. The performance on 21st March 2013 will be transmitted live to selected cinemas worldwide.
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