Watching Trevor Nunn's funny and fleet-of-foot production of Love in Idleness, a "new" play forged by combining two drafts of an old play written by Terrence Rattigan that's been barely performed, is like a blast from the past.Love in Idleness concerns a middle aged, high society couple, just after the Second World War, who are forced apart by the socialist principals of the wife's son from a previous marriage. This necessitates her moving out to live in genteel poverty before all our reconciled and they return to dining at the Dorchester. (That isn't a spoiler by the way, it's blatantly obvious what'll happen from the moment you learn where the last scene is located, and you immediately know from the tone that Rattigan won't be leaving us with a down beat ending. There's plenty of other, better comedic surprises, which I won't reveal, for you to enjoy)
The son's political activism matches the concerns of the left-wing today and Nunn is keen to emphasise this with videos of Britain post-war engagement with socialism and especially the Beverage Report which triggered the establishment of the Well Fare State and The National Health Service, which many consider to be currently under threat from the Tory government. But despite all Nunn's efforts the production's attempt at topicality and contemporary resonance is simply window dressing for a delightful, light weight romantic comedy about dealing with grumpy teenagers. I'd recommend you look through the video footage and enjoy the sight of major West End stars obliged to help with the set changes. A far more potent symbol of egalitarianism than anything in the script.
Don't expect anything much to engage your intellect, simply enjoy the immaculately constructed comedy which predominantly hinges on the right person bursting in through the right door at the right time to overhear something they shouldn't.
The cast are exceptionally gifted at this sort of thing. Eve Best is simply glorious as the aspirational wife and delivers every line with comedic aplomb. Her relationship with Anthony Head is entirely believable and his performance is a masterclass in giving her just the right amount of support to set up the punchlines and farcical situations without overshadowing her. Edward Bluemel as their son is a real find. Handsome, talented and already a master at pleasing an audience, expect to see him starring in TV and movies soon as tomorrow's heart throb.
The set transforms from elegant, luxury apartment to a grotty studio flat when the wife and son experiment in living with self inflicted poverty and she switches from elegant high fashion to dressing, improbably, like a cleaning lady. Much as Nunn might like to think this is an intellectually engaging flirtation with a radical agenda, like the characters, we're all willing then to shake it off and return to their previous wealth. In this respect it actually becomes the most right-wing, reactionary show in town.
I enjoyed the press night a great deal and laughed out loud a lot but I kept thinking about The Curious Incident of the Dog in the Night Time playing at the theatre next door; a piece which manages to be funny AND say something profound about our world.
In comparison Love in Idleness is a pleasant way to spend 2.45 hours, especially if you're a fan of Best and Head and polished situation comedy, but it's nothing more.
It is always interesting to see how a small theatre company tackles the second longest play in the canon with a roster of over 50 speaking characters – there are more ghosts listed in the cast list than in a typical West End play… Here the Arcola Theatre tackles Richard III with 13 fine actors, a couple of extras and a couple of children; a few suitable costumes and a composite set.