Gareth's Culture and Travel Blog

Ten years ago Stephen Beresford’s first play, The Last of the Haussmans, went straight onto the NT’s Lyttleton stage and was a huge success. I loved it, and have been waiting ever since for his next. We’ve had a very good adaptation of Bergman’s Fanny & Alexander, a short monologue streamed as part of the Old Vic’s lockdown season and a terrific screenplay for Pride, but this second original play has taken ten years, including two waiting to get onto the Bridge Theatre stage for the now customary reasons. It’s what I call ‘a proper play’, well worth the wait, and the cast of this premiere production is uniformly excellent.

The Church of England in Devon may not seem the most exciting prospect for a drama, but this even-handed examination of it’s role in 2022 dispels that prejudice quickly. The vicar finds himself at the centre of a storm when he refuses just one of the requests for the funeral of a child. The community, most of whom never attend his church except for christenings, weddings and funerals, turn against him. Even his loyal wife, newly arrived curate, daughter / verger and the church authorities want and expect him to give in to the pressure, but he insists its what they need, irrespective of what they want.

Not only is the debate an objective view of the church in our times, it’s also sharp-witted and often very funny, both an entertaining and enlightening piece which takes place entirely in the vicarage kitchen (designed by Mark Thompson) whilst most events occur offstage. I couldn’t wait to get back after the interval and felt deeply satisfied at the end, as only good live drama can provide.

Alex Jennings is simply superb as Rev David Highland, a flawed but well meaning man who cares for the community as a whole, church-goers or not, despite his past infidelities and issues with alcohol. The uncle of the child, finding himself in conflict with his own family, uses him; this is another fine performance from Josh Finan, who so impressed in Shook and Peggy For You. Hermione Gulliford is superb as doctor’s wife Janet, jumping on the bandwagon, the woman you love to hate. Holly Atkins is a delight as the pregnant copper on a motorbike singlehandedly trying to keep the peace.

This is great writing, excellent staging by Nicholas Hytner and a fine ensemble. The cheers said it all; lots of us have been waiting for a meaty new play that never forgets to entertain whilst it illuminates.