Writer: Laura Wade
Director: Tamara Harvey
The past is indeed a foreign country. And Laura Wade’s sparky play shows us the difficulties in trying to visit in any way other than with our imagination.
First impressions of Judy and Johnny’s retro-fitted 1950’s life slot perfectly into the falsely created, nostalgic idea those who weren’t around at the time all have: bright colours, weird angles, joyful family dynamic. Thankfully this veneer peels off, and we’re exposed to the harsh reality of their strained existence and the difficulties they’re facing as a couple. Wade has written a sound personal drama, wrapped in an intelligent and enjoyable vehicle that allows her to explore this marriage through wider social themes.
It becomes clear that far from being empowered by her role as mistress of the house, Judy creates a stifling disordered control over all aspects of her life. Cleaning behind couches lets her ignore the world of people and problems that exists outside the front door, but does not prevent reality coming through it. Beginning happily, Wade writes in pinpricks of passive aggressive comments and encounters, which evolve to become full-on slashes of painful disruption which build tension gracefully until this carefully constructed fantasy world falls apart and the couple need to learn again how to actually be together.
The period’s misogyny, racism, and general unpleasantness are conveyed in bracing detail, alongside illustrations of how those aspects have become so rooted in our culture in the intervening years that they’re still battles to fight today. Even when the women of the play (Judy, her mother Sylvia, her friend Fran, and Johnny’s boss Alex) talk, it cuts close to the line on the Bechdel test. The stink of the menfolk’s insecurity, wishes and misdeeds hang over all these conversations making it all about them, even when it shouldn’t be.
Carrying this all off are a handful of fine performances from Jessica Ransom as Judy and Neil McDermott as Johnny. As their friends (and excellent dancing scenery shifters) the stylish stylist Fran and her sleazy husband Marcus are well portrayed by Cassie Bradley and Matthew Douglas. In keeping with the vibe we think represents the period (nostalgia again, remember), it’s complete with gorgeous and effective visuals from set and costume designer Anna Fleischle. Bringing this highly stylised tone all together is director Tamara Harvey who brings out movement, speech, imagery and framing as if we’re watching an original family sitcom shot on brand new Technicolor roll.
Like Judy and Johnny’s life, it may look nice but the show isn’t perfect either. Some narrative leaps (like just how disconnected Johnny is from the couple’s finances) are a bit far for us to comfortably make, and the characters themselves are wearing the longer we spend in their company: minor inconveniences, however, in the grand sweep of this funny, smart production.
As a romantic drama that tackles weighty issues with genuine substance like fear of life and struggles with identity, it has lost none of the strength it showed at its debut in 2019.
Runs until 8 April 2023 then tours
The Reviews Hub Score
Funny, smart production.
