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Neil McPherson for the Finborough Theatre A Day by the Sea
by N.C. Hunter Directed by Tom Cooper
Finborough Theatre
31 March – 14 April, 2008
A review by Tanith Lindon for EXTRA! EXTRA!
A Day by the Sea is an interesting play to go and see as it comes from a period of writing that was pretty barren, due both to the social-political climate and draconian censorship laws. Historically speaking, it isthe bridge that connects the happy-go-lucky era of Rattigan and Coward plays with the raging kitchen sink writing of the 50s, kicked off with John Osborne’s Look Back in Anger. N.C. Hunter’s play maintains the 1940s’ focus on a prim, middle-upper class family, but their lives are tinged with the bitter disillusionment following the World Wars that characterises much of the drama from the late 1950s. Set in post World War Two Dorset, the theme of loss is overwhelming: the ageing Ansons lament the diminishment of youth, Matty, the governess repeatedly faces giving up other people’s children, Frances is both widowed and bereaved of respect due to her questionable marital behaviour, and the whole of Europe is groaning from the wounds of economic loss and years of fighting. One of the most interesting characters in this production was the gin-swilling Doctor Farley, played by William Maxwell. As is so often true, the blurring of his attention to social boundaries (due to intoxication) enabled him to make candid commentary on the world encircling him, ironically becoming the most clear-headed of them all. Lubricated by drink, his speech flows honestly, making poignant small talk about the cravings of alcoholism, and the brutal actions of nations in war time, for which he genuinely grieves. Maxwell’s performance breathed life into the rather stuffy Anson family, and was sensitive and refreshing to watch. Another particularly strong performance was by Andrew P. Stephen as family solicitor Willy Gregson, whose attention to detail created a wholly believable character, down to his ratty moustache and rough-shorn haircut that equated to a fight with a set of clippers. Perceptively emphasising the tragic-comic facets of this dull clerk, Stephen took this small role and made it beam out of the production. Several of the actors fell into a set pattern of intonation that often accompanies drama of this period – rising just before the end of every sentence – which despite making one sound rather posh, tends to tune a listener into the rhythm rather than the words. This was unfortunate in its instance but by no means consistent throughout the production. The design and direction of the play felt functional rather than particularly innovative, but I’m sure that is what N.C. Hunter - ‘the English Chekhov’- would have wanted.
Finborough Theatre, The Finborough, 31 March, 6, 7, 13, 14 April 2008 (Sun & Mon)
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