David Storey’s rarely revived 1989 examination of ageing and family relationships & tensions gets the sort of delicate, sensitive, nuanced production we’re fast getting used to from Alice Hamilton, with as fine an ensemble as you’ll see anywhere. This is a very welcome revival of a work by a playwright we see all too little of.
The Pasmore’s are surprised by their three adult children on their 60th wedding anniversary and taken out to lunch. Tommy Pasmore is a retired miner and his wife a lifelong homemaker. They’ve had to struggle financially and there are current tensions evident. In the (longer) first half it’s mostly pleasantries, welcome reunions, some bickering and more than a touch of nostalgia. When they return from lunch though, there are home truths, skeletons leaving cupboards and the unsaid being said. The parents go to bed upset, so the ‘children’ decide to stay over.
The second half is a lot better than the first, which seemed to me to be overly ponderous, in a Checkovian way, and I struggled to maintain attention. The second half is a gem though, an excellent, very authentic family drama which may well be somewhat autobiographical. James Perkins’ superb period design places the coal fire centre stage and Sophia Simesky’s costumes complete the evocation of the period. Ian Gelder and Sue Wallace give marvellously calibrated performances as the parents, understated until emotions surface. The three siblings are all beautifully judged by Colin Tierney, Sarah Belcher and Connie Walker.
The Orange Tree continues it’s roll, on this occasion with something their traditional audience are welcoming with open arms.
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