Summer 1954 – Oxford Playhouse

Writer: Terence Rattigan

Director: James Dacre

Terrence Rattigan has spent too much of the last few decades being overlooked and underappreciated. Thankfully directors and producers have helped change this perception with some beautifully observed revivals that have allowed Rattigan to reclaim his place at the heart of the repertoire.

This unique pairing is a worthy addition to the list of quality productions bringing together The Browning Version and the second of the plays from Separate Tables. Both explore the post-war decline in Britain that permeates much of the theatre of the 1950s with examinations of quiet despair and repression. These scripts are full of brilliantly crafted dialogue and real emotional depth.

Both plays are presented on a detailed and evocative set by Mike Britton, who also contributes the pitch-perfect costume designs. They combine to capture the period and the rather rundown world in which these characters exist. James Dacre’s direction is similarly carefully considered and precise. He gives the actors the space to breathe and for their characters to emerge through subtlety and nuance.

Of course, there is no denying the star power of headline casting. The opportunity to see Sian Phillips on stage is never to be missed. From her very first line she captures the audience’s attention with her crystal-clear diction and innate understanding of her role. It is a masterclass in both comic timing and dramatic clarity.

Nathaniel Parker’s two roles are an opportunity to explore two different forms of repression. In Table Number Seven, his Major Pollock hides his sexuality through deception and bluster and Parker avoids any sense of cliché thus avoiding the risk of falling into stereotypical behaviour patterns. It is also good to see Rattigan’s original intentions being presented rather than the version he had to use to avoid the wrath of the Lord Chamberlain.

In The Browning Version, his disappointed schoolmaster is perhaps a little too hearty and likeable than the script might suggest. And whilst he may not fully embody the dessicated side of Crocker-Harris that one might expect, he does give a convincing and compassionate interpretation of the role that keeps the audience fully engaged.

Lolita Chakrabarti brings a quiet dignity and caring understanding to the Hotel manager Miss Cooper in Table Number Seven. And then offers a more spiteful and vindictive spin on the role of Millie Crocker-Harris in the second play.

Similarly, Jeremy Neumark Jones, making a welcome return to Oxford, brings a fresh spirit to his contrasting roles. He is able to capture a sense of how younger men in the 1950s are struggling to find their way in a world that has been upended by the horrific events of the previous decade. Both of his characters are, to a certain extent, the voice of the future and they are both navigating rather uncharted waters.

Some delicious cameos delight the audiences in both halves. Special mention must go to Richenda Carey and Pamela Miles for their scene-stealing contributions. Both are a reminder of how much depth of talent exists in the world of British character acting.

Overall, this is a wonderfully acted and handsomely presented revival of two great scripts. It does make one wish to have, perhaps, seen this cast tackle a full revival of both parts of Separate Tables and then go on to present The Browning Version alongside Harlequinade as Rattigan originally intended. Having said that, this makes the case for seeing Rattigan in our theatres as often as programming will allow.

Runs until 15 February 2025 and on tour