A captivating presentation highlighting various facets of love, accompanied by an outstanding jazz soundtrack.
Noel Coward’s original play (adapted for the stage by Emma Rice) explores diverse dimensions of love. It delves into the playful and youthful aspect between Beryl, the timid tea-room assistant, and Stanley, the cheeky refreshments seller. Simultaneously, it portrays a more mature love emerging unexpectedly between Albert, the steadfast train inspector, and Beryl, the tea-room owner. The narrative also captures a brief encounter, a passionate but unconsummated love affair between Laura and Alec, the main protagonists. This production allocates equal attention to the love lives of station characters and the ill-fated affair, revealing a compelling subtext reminiscent of the classic narrative—boy meets girl, they fall in love, but the relationship is destined for failure from the outset (ironically maybe, but the play was performed at the Royal Exchange shortly after Romeo and Juliet). The production is rich in depictions of class disparities, showcasing a working-class expressing emotions in a natural, unfiltered manner and humorously navigating personal decisions in their pursuit of love, free from societal scrutiny. Conversely, the middle class appears constrained, compelled to suppress emotions and adhere to pre-established norms.
To conclude the script, the production integrates several cabaret songs from ‘The Master,’ including “No Good At Love” / “So Good At Love,” “Mad About the Boy,” and “A Room with a View,” all composed by Coward himself. Set in a jazzy and intimate atmosphere, the music serves to emphasize various emotions, even though it doesn’t directly propel the plot and may sometimes feel a bit forced, like bland pastiches. The standout moment for me was the captivating on-stage pianist and music director, Matthew Malone. While some of the songs may seem somewhat derivative or easily forgettable, they provide an opportunity for the entire cast to showcase exceptional vocal talent and musical charisma. Special recognition goes to Christina Modestou (Myrtie) and Ida Regan (Beryl), who received ovations for their outstanding performances.
Despite the show having a gradual buildup, the scenic design transforms it into a visually enchanting experience. The production boasts a distinctive aesthetic that adeptly captures the essence of time and place. Rose Revitt’s design is particularly noteworthy, immediately conveying the setting as a vast railway station. A striking suspended clock not only adds beauty but also helps orient the audience in the timeline of the narrative. Beneath it, a railway engine turntable, possibly symbolic of the myriad choices characters navigate through their brief encounters, adds an intriguing dimension. The rattle of the gallery’s barriers, synchronized with passing trains, not only mimics the setting but also evokes a sense of uncertainty, unease, and the constant motion inherent in the characters’ journeys.
While I rooted for the lower-class characters to find a satisfying resolution, I struggled to find a redeeming perspective on the relationship between Laura and Alec, and this sentiment isn’t solely due to the cautionary undertones woven into the show’s subtext. Baker Mukasa and Hannah Azuonye, portraying the characters, appeared constrained by the period stylings. The lack of noticeable chemistry and a clear emotional connection between them made some dialogue delivery feel rigid and occasionally even comical.
Moreover, it remains unclear whether the intentional choice of the production was to focus on the marital life of the female protagonist (including her husband and children) while leaving Alec’s life shrouded in mystery. This decision, though possibly intended to highlight the shared constraints of domestic life, resulted in an imbalance of power dynamics. Laura had everything to lose, while Alec seemed less emotionally attached, with the option to escape to Johannesburg to heal his broken heart immediately after the couple decided to part ways. This choice left Alec’s personal life largely unexplored.
While I appreciate the desire to remain faithful to David Lean’s interpretation of the original screenplay, I believe a modern adaptation should have incorporated more of Alec’s family, particularly his wife Madeleine and their two sons. This would have contributed to a more balanced and credible dynamic in the narrative.
As I exited the theatre, I carried with me a heightened awareness of the class disparities and the burdens intertwined with life during the eras of First, Second, and Third-class railway carriages. However, I also departed with the profound realisation that love, as one of the purest emotions, can be celebrated in myriad ways. The rhythmic embrace of jazz made the experience even better!