A rare revival for Lillian Hellman’s play, set at the turn of the 20th century. With a title taken from the Bible’s Song of Solomon, The Little Foxes is a family drama set in Alabama’s cotton country.
Regina, Ben and Oscar are siblings living closely together, a family who gained wealth and power when Oscar charmed and married Birdie, daughter of Southern aristocracy and rich plantation owners.
They patronise their black servants and are driven by money. When Regina’s husband Horace, sick and tired, fails o respond to a business deal, plans to gain the money with or without him.
Lyndsey Turner’s production captures all the nastiness behind closed doors, particularly of the unsuccessful marriages at its heart. There are moments of both physical and emotional violence, and a general air of meanness.
This family may be close by, but there is little warmth. Alexandra loves her father, Horace, and aunt Birdie, but she is facing an uneasy future under the influence of her uncles and mother.
The acting is deeply layered and highly tense. Past indiscretions and decisions are revealed, while a moment of stillness in the second act is terrifying.
This production boasts a cast who weave magic into a production not seen in London in two decades. Anne-Marie Duff (Regina) is icily determined and heartless. Anna Madeley (Birdie) is heartbreaking as she visibly deflates under her husband’s cruelty then radiates happiness when he isn’t there.
Mark Bonnar (Ben), Steffan Rhodri (Oscar) and John Light (Horace) are detailed studies of male pride, toxicity, and decency. Stanley Morgan (Leo) offers a portrait of a vain and spoiled young man without a moral compass, and Eleanor Worthington-Cox (Alexandra) shows the steel and idealism a younger Birdie might have had.
As the house servants, Andrea Davy (Addie) offers wry looks and silent comment on the situation, with a wisdom brought from years of being neglected and sidelined. Freddie MacBruce (Cal) has less to work with, but is still very effective.
Lizzie Clachan’s designs are somewhat anachronistic, suggesting 1950s or 1960s, but tales like these, behind closed doors can and do happen at any time. Tingying Dong’s sound design is sharp, tense, and lively, complemented by Lucy Carter’s lighting that draws the eye.
The Little Foxes stands as a warning to those who stand and wait, stand and watch. It’s as pertinent now as it was at its 1939 premiere.
A brutal, savage and vicious play about the spectre of money and ambition ripping apart familial bonds.
The Little Foxes is at the Young Vic until 8th February 2025. https://www.youngvic.org/
Reviewer: Louise Penn
Reviewed: 12th December 2024
North West End UK Rating:
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