• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides

The Old Country at the Southwold Summer Theatre

September 7, 2016 by Paul Hegarty Leave a Comment

Review of: The Old Country
Produced by:
Suffolk Summer Theatres

Reviewed by: Paul Hegarty
Rating:
4
On September 7, 2016
Last modified:September 7, 2016

Summary:

A play of intrigue and betrayal brings a summer season to an compelling end.

More Details

The summer repertory season at Southwold draws to a close with an Alan Bennett play, The Old Country. Written in the late 70s it explores the idea of exile and betrayal both emotional and political. It is a theme Bennett has mined on several occasions, from a Russian tale based on a Coral Brown anecdote, A Gentleman Abroad to the more esoteric portrayal of the establishment with their attraction to and dalliance with communism, as Blunt, the keeper of the Queen’s pictures in A Question of Attribution, explains about fakes.

Bennett’s earlier work The Old Country is altogether less cryptic save the surprise of not knowing where we are for some considerable time: an isolated country bolt -hole or somewhere more sinister perhaps? He gives us clues, the fauna and flora, the phone calls, the uninvited guests but perhaps the greatest sense of unease is created by the feeling that they are not alone, it is not just “Hilary watching Hilary’, that seems so intriguing. Southwold Theatre have excelled themselves with this worthy production of a complex play.

With subtle lighting by Mark Sterling and designed by Maurice Reubens in relaxing and inviting tones of blue, the set suggests, on the surface at least, a home counties retreat or a suburban comfortable setting – but as the play unfolds things are not what they seem; be it location, character or intention. The truth slowly unfolds to reveal a group of well-connected intelligentsia, who understand what must be done, even if not wholly approved of, in order to restore a balance of some kind.

Hilary, played by the excellent Jim Morley, discusses his predicament with questioning derision for all things that only the well connected and privileged can afford to exercise. He seems at once committed to his political position as he happily points out the ironies of the establishment and old boy network in particular where middleclass respectability affords you the luxury of slipping under the radar of the Foreign Office and government. Principally Morley conveys the sense of a dull, domestic bully, full of his own importance and over confident in his social status who sought his moment of glory in the suburbs trading information with the enemy to promote a theoretical system of government he never thought he would have to endure. He is a traitor, as is forcibly pointed out by Bron, his wife. Bron, played with great empathy by Barbara Horne, radiates tolerance and long standing suffering at having been duped by a traitor, more interested in self-gratification than political change and a betrayer who has thoughtlessly brought them to exile, thus depriving her of her retirement and conventional validation of an honest life. She fears ending her days in an unmarked coffin on the tarmac at Heathrow where her name cannot even be pronounced, let alone remembered.

However, all may not be lost as a visit from her brother in law, the suave Michael Shaw as Duff brings other options. He gives off the confident air of a Knight of the realm, spouting relentless accounts of his connections, his ambitions and his successes. This wonderfully engaging performance from Shaw allows Bennett’s text to crisply rise up and expose the dark and murky under-belly of the establishment. A performance that is élan, tough and uncompromising allows Shaw to shine as he navigates the ins and outs of loyalty and commitment, not only to one’s country but also to personal relationships and of course to oneself. Deftly supported by the stylish Imogen Slaughter who plays his wife, Veronica. Slaughter wittily entertains with waspish one-liners, catching the acerbic charm of Bennett. Into the mix comes the surprise visit from Olga and Eric. Unclear as to why a draughtsman from Portsmouth and a local Russian might be so unhappily involved we are drawn into a world of intrigue. Mellissa Clements and Bob Dobson capture a relationship that is both dependent and suffocating where making good of what you’ve got may be the only option for this pair. It’s not about choice it’s about survival. While Olga facilitates an exchange of personnel Eric reveals a troubling sexual edge in some scenes when making overtures to and ultimately exposing the sexual dalliances of Duff allowing Bennett to explore a different aspect of concealment and betrayal.

This is a challenging play that demands much of its audience; it leaves you contemplating the role of nationalism, loyalty, and betrayal and shear ambition as it rides rough shod over altruism. Here the centre holds fast and power not only corrupts but is crucial in maintaining the established social order where the few benefit from the many. It is not a surprise when Veronica is told that Eric wants to return with them that she exclaims “ What, to Moscow?” totally ignoring the possibility that the ordinary working class draughtsman might just have the same inclinations as the more elite and self confessed communist, Hilary. There is no place in the establishment for the likes of working class Eric, after all what that ‘type’ want is of little concern.

Bennett gives us a chilling insight into espionage as well as social divisions between classes where loyalties are tested and found wanting, illustrating how the moneyed feel entitled to political expressions not afforded to the working class. You can share political ideology but don’t mistake it for equality. It is not Bennett’s best play but this smart, atmospheric production directed with sensitivity and flair by Phil Clark resonates in these post Brexit times, as it shines a light on class, sex, politics and power.

Bennett may have dealt with these subjects more roundly in other works but this play nevertheless allows us to recall a time when grace a favour attitudes seemed embedded in society making us realise they have not gone very far away.

Aldeburgh and Southwold theatres playing until September 10th2016

Author: Paul HegartyPaul is a reviewer and an experienced actor who has performed extensively in the West End (Olivier nominated) and has worked in TV, radio and a range of provincial theatres. He is also a speech, drama and communications examiner for Trinity College London, having directed productions for both students and professionals and if not busy with all that he is then a teacher of English.

Filed Under: Review

Join the discussion Cancel reply

INTERVIEW / Daniel Hoffmann-Gill on The Great Almighty Gill

We spoke to Daniel Hoffmann-Gill about his autobiographical performance of The Great Almighty Gill that’s heading to the Edinburgh Fringe [Read More]

INTERVIEW / Kati Raatikainen on Kvartetto

We spoke to choreographer Kati Raatikainen about her upcoming performance of Kvartetto at the Edinburgh Fringe as part of the [Read More]

INTERVIEW / Harry Butler on Changing the Sheets

We spoke to writer and performer Harry Butler about his upcoming performance of Changing the Sheets, presented by The Playground [Read More]

INTERVIEW / Jamaal Burkmar on DONUTS

We spoke to choreographer Jaamal Burkmar about Extended Play’s upcoming performance of DONUTS at the Edinburgh Fringe, presented by The [Read More]

INTERVIEW / Heather Milsted tells us about her show Period Dramas

We spoke to actor and writer Heather Milsted about her upcoming show, Period Dramas, that’s heading to the Edinburgh Fringe [Read More]

Top Posts & Pages

  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Katy Owen: LAMDA Audition (First Round)
  • The Threepenny Opera at the National Theatre
  • Joe Strickland on why they will be keeping things digital
  • A Streetcar Named Desire- A cry of pain- Young Vic
  • Does Small to Mid Scale Theatre Touring Actually Work?
  • Katy Owen: Auditioning for Oxford School of Drama
  • Sarah Bodalbhai on Escape from Planet Trash
  • Writing the Perfect Press Release
  • Paul Hegarty
    Contributor

  • September 7th, 2016
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2022 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!