Opening night for Home, I’m Darling at the divine Altrincham Garrick Playhouse and the audience are presented with a phenomenal set (designed by Charlotte Leigh) of a beautiful 1950’s inspired interior. The stairs, centrally placed, lead up to a simple bedroom, painted in hot pink. Downstairs, on the one side, the yellow kitchen (with a superb Smeg refrigerator) and monochrome chequered floor, on the other, a green living room complete with a 1950’s fireplace and minibar! The set construction team (with Mandy Cooke as Scenic Artist) have excelled in the creation of this authentic looking abode.
The aesthetics in this show are key to creating the initial allure of the 1950’s and the costumes did not disappoint; a range of colourful 50’s inspired dresses and suits were worn throughout by Judy, Johnny, Fran and Marcus. If I am being really picky, I felt that Johnny should have worn his checked trousers at the beginning to make it more obvious that his suits were instantly recognisable (as identified by Fran).
The lighting design and operation by Geoff Scullard further enhanced the vibrancy of the home. I particularly liked the colourful lighting during the well-choreographed jive breaks (by Emma Kay), this lifted the mood and provided a contrast with the ‘reality’ of everyday life. During the late-night heart to heart scene, the light glowing through the window was particularly effective as it created the perfect (dimly lit) atmosphere for this serious, engaging scene.
Home, I’m Darling opened at Theatre Clwyd in July 2018, later that year it was nominated for Best New Play at the UK Theatre Awards. In 2019 it won the Laurence Olivier Award for Best New Comedy. This production, ably directed by Su Mowat, certainly contained some funny moments, for example, the audience were always entertained by the deliberately clichéd kiss goodbye between Judy and Johnny. I felt a couple of the lines at the start of the show were slightly lost but this may have been due to first night nerves. Any hint of nervousness quickly dissipated because a thoroughly confident performance followed.
Judy (Fiona Primrose) is superb as the 1950’s conventional housewife. Primrose conveys Judy’s distaste of modern advancement with believable expressions and intonation. In Act 2, during the flashback scene, Primrose shows a different side to the character of Judy; Primrose’s acting prowess highlights the distinction between the fun-loving easy-going, animated Judy who exists before the “trial period”, with the strait-laced, prim and proper Judy who chooses to live in a bygone era.
Hector Macduff is well cast as 1950’s-loving Johnny. Macduff and Primrose worked well together as they conversed as husband and wife. Macduff mastered the nuances of the character of Johnny, this was particularly evident as Macduff moved between conveying Johnny’s delight, dismay then despair about Judy’s life choices. With wonderful diction, both Primrose and Macduff made their performances look effortless.
I was surprised to read that this was Katie Karitakis’ stage debut! Karitakis gave an assured performance as 1950’s fan, Fran. Karitakis not only jived exceptionally well throughout the scene changes, ably rearranging the props with Paul Cudby, but Karitakis gave a confident portrayal of Judy’s close friend. Karitakis delivered lines clearly and capably showed the anguish and frustration that Fran was experiencing in her marriage to Marcus.
Paul Cudby perfectly displayed Marcus’ characteristics, specifically those of a jive-loving, fun friend and caring husband. However, as the story progressed Cudby convincingly showed Marcus’ darker, chauvinistic side.
Jacque Hamilton gave a confident performance as Judy’s despairing, mother, Sylvia. Hamilton held the audience captivated as Sylvia chastises Judy for “wasting” her life. Hamilton declared the hard-hitting reality of life in the 1950’s with such assurance that this showed Hamilton’s skill and versatility as an actor.
Antonia Veitch brought energy and enthusiasm to the stage as the bubbly character of Alex, Johnny’s boss. Veitch’s portrayal of career-driven Alex, was the perfect antithesis to conventional housewife, Judy.
With well-planned choreography (dance moves and well-timed entrances and exits), excellent attention to detail and great chemistry between the cast, this classy, thought-provoking production proved to be wonderful entertainment.
All the best to cast and crew for the remainder of the run.
Reviewer: Emma Wild
Reviewed: 2nd October 2023
North West End UK Rating: