Review: WHEN WE ARE MARRIED, The Donmar Warehouse
Johan Persson
First seen in 1938, and set thirty years earlier, When we Are Married is a remarkable survivor from the age of the well-made play. It reappears every ten years or so in the West End, perhaps because it offers such good parts to actors. Tim Sheader’s confident and astute production for the Donmar Warehouse offers a feast of acting, and the three main couples are for once age-appropriate: they are, after all, celebrating their 25th anniversary not their 50th.
The younger characters are cast with care too, Rowan Robinson’s Nancy being a more exuberant take on the role than is usual, opposite Reuben Joseph as a self-assured Gerald. The other young characters, housemaid Ruby Birtle and reporter Fred Dyson are cut, perhaps unfortunately, as they both play important roles in the plot and by their commenting from a younger perspective. Janice Connolly’s Mrs Northrop has to take on some of Ruby’s dialogue as well as her own, but with a performance this good she is unfazed by the prospect – and throws in a well-sung Biggest Aspidistra to open the show. An appropriate choice this, considering the example to be seen on Peter McKintosh’s brightly coloured though minimalist set, which itself works well with an audience on three sides.
Leo Wringer is a dignified and sympathetic vicar and does his best with a fairly thankless role, while Tori Allen-Martin is a lively and warm-hearted Lottie Grady, an effective contrast to the buttoned-up couples at the centre of the story. Those three couples, parts that have been played by our greatest actors in their time, are brought to convincing life once more by this impressive group. As the reserved and dignified Helliwell, John Hodgkinson is particularly good at suggesting the regret he feels at missing opportunities. As his wife, Siobhan Finneran gives an immensely realistic performance that sees the sadness as well as the humour in the part. As the Parkers, the blustering Marc Wootton portrays this conceited buffoon well, and the always reliable Sophie Thompson makes much of her role as his wife, in many ways the most complex character in the play. The Soppitts are the closest to caricature as written, but saved from that fate by the detailed performances from a determined and fiery Samantha Spiro and Jim Howick, getting much mileage from his sudden burst of courage.
A feast of fine acting then – and to top it all, on comes Ormonroyd, a part played by many a comic actor. Ron Cook knows that a stage drunk needs to be someone trying not to appear drunk and he throws all his technique and experience at the role. It is a glorious performance and we long for him to reappear, even without his usual sidekick. When we enjoy his deft trip on the carpet in the first two acts, we know what will happen the third time, and we are not disappointed.
Sensibly, one of the two intervals in this three act play is cut; however Acts 1 and 2 are separated by a burst of Beyonce, which probably seemed like a good idea at the time. Introducing each act with a music hall song is much more successful.
When We Are Married works well in most productions, but with a cast of this calibre, it is not to be missed. It is one of the many achievements of this production that it hints at the sadness of the situation without in any way diminishing the humour. Get a ticket - if you can.
**** Four Stars
Reviewed by Chris Abbott
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