Rose Theatre Kingston, 8th October 2019
I am all for revivals of modern plays that have something to say to us right now. Assuming the play was good enough in the first place. And that the director and creative team have a clear idea of how they craft that relevance whilst still staying true to the time and place in which they were written. In my experience texts from the 1970s and before, or those written in the last 20 years, fare best in this regard but those through the 1990s, and especially the 1980s, pose the most headaches. Recreate or update? And this was, remember, a fertile period for drama after a decade or so of artistic stasis. Largely because us luvvies like nothing better than to censure society, politics and culture that shifts rightwards. Thatcherism was a heaven sent artistic opportunity.
This is the context in which Stephen Jeffreys, who passed away last year, wrote Valued Friends in 1989, which premiered at the Hampstead Theatre before a West End transfer. The original cast consisted of Peter Capaldi, Jane Horrocks, Serena Gordon, Tim McInnerney, Martin Clunes and Peter Caffrey. Four thirty-somethings, Marion (here Catrin Stewart), Paul (Sam Frenchum), Howard (Michael Marcus) and Sherry (Natalie Casey), have rented a flat in Earl’s Court then an up and coming, (they always are), part of London since meeting at uni. Posh developer Scott (Ralph Davies) wants to ponce up the block and sell on and makes them an offer he thinks they can’t refuse to get out. However the bourgeois Marion sees an opportunity to negotiate and persuades vacillating partner Paul, the relaxed in the paddock intellectual Howard and the impecunious motormouth Sherry to hold out. A few turns of the wheel later and Sherry is paid off, setting out to travel the world and find herself, and the other three have bought the flat at a discount to do it up, with the help of builder and homespun philosopher Stewart (Nicolas Tennant). High flyer Marion eventually cashes out after splitting up with man-child music journo Paul, who becomes ever more obsessed with making money from the property.
Sounds interesting eh. I can certainly see why director Michael Fentiman was drawn to reviving it and what the Rose and co-producer Original Theatre Company agreed. Especially when you consider Stephen Jeffrey’s reputation. The Libertine, which popped up at the Theatre Royal Haymarket in 2016 with Dominic Cooper in the lead, is probably his most famous play but Mr Jeffreys was as much teacher, in his roles at the Royal Court, as he was writer. Which, given his skill in pacing, character, structure and language, is unsurprising. Valued Friends is a very well built play, full of telling detail. I am just not sure this production fully reflected that or whether its line of attack would make sense to an audience who wasn’t there at the time it appeared. The nature of their relationship with “property” is rather different.
For trust me the desire to succeed, to get on, to make money, infected us all. And that was most obviously expressed in the delirium of property ownership. Of course that urge, that need, remains but a decade of single digit average price inflation and falling volume of transactions, despite cheap money, doesn’t compare to the madness of the late 1980s, peaking at over 30% in the year before SJ wrote Valued Friends. A group made up of a struggling journalist, a second rate stand up (Sherry), and admin worker (Marion) and a PhD student wouldn’t be contenders to buy a prime flat in inner West London today, but, trust me, there was nothing far fetched about this then for all the money illusion. SJ takes this phenomenon to make broader points about accumulation, credit, greed, the erosion of community, the rise of individualism and the failure of markets. There is more to his dialogue that meets the eye, or ear maybe, sorry mixed metaphors, but this is subtly woven in to a still credible story of friendship and relationships.
It is funny but it is not just a comedy. However it seems that Mr Fentiman didn’t quite trust that reading and decided to dial up the laughs. Now I gather Natalie Casey is best know for her work in Two Pints of Lager and a Packet of Crisps, Hollyoaks and West End musicals. All outside my ken I am afraid. She brings a feisty tenacity to Sherry, who keeps knocking at the comedy door despite making no money, but as an actor she is a bit full on and shouty. Conversely Ralph Davies’s reptilian Scott falters as the negotiation lengthens. And Nicolas Tennant’s turn as Stewart, whilst dissonantly amusing, rather distracts from an ending that already forces resolution. Sam Frenchum (so good in The Outsider adaptation at the Coronet), Michael Marcus and Catrin Stewart are much more sympathetic to the characterisation I think but still feel a little awkward at times, especially in the on-off relationship of the couple.
Michael Taylor’s set design, which shifts from student-y squalor to swish minimalism, does the job, and Madeleine Girling’s costume are spot on, but the lighting (Nic Farham) and sound (Richard Hammerton) are a bit too conspicuous.
Happy enough, especially for my tenner investment here, but couldn’t help thinking what it would be like to see a production of a play by Mr Jeffreys that really hit home.