Review: SUMMER 1954, Richmond Theatre

Director James Dacre presents these two short dramas by Terence Rattigan under the banner title Summer 1954, the date when the action is set. An unusual pairing of these unshowy productions convey the intellectually astute and emotionally searing spirit of Rattigan’s writing.

Reflecting the huge social shifts of the post-war period, Rattigan remains the master of portraying repressed emotion and barely contained feelings that quietly build to reveal underlying sadness and unexpected inner strength.

Table Number Seven has rarely been revived; set in a Bournemouth boarding house where residents politely chat about the weather over dinner. A court report in the newspaper reveals that one of the hotel’s long-term residents, Major Pollock, is not in fact a major at all and had been arrested earlier in the week for “importuning” men on the esplanade.

Set in the midst of Britain’s homosexual witch-hunts of the 1950s, this version takes the idea of the major propositioning men from Rattigan’s earlier draft which he had to change due to a law that stated that homosexuality could not even be referred to on stage.

As the 'Major', Nathaniel Parker vividly capturing the loneliness of a gay man in a time when homosexuality was seen as a public menace.  He plays a hugely sympathetic character who struggles to live as he has "been made"; it is a beautifully nuanced performance.

The majestic Siân Phillips is wonderful as pompous matriarch Mrs Railton-Bell; her cruelty verges on breathtaking as she relishes attacking Pollock for what she deems as disgusting behaviour.

Reflecting the burgeoning changes in social attitudes towards homosexuality, Alexandra Dowling brings much interest to the role of conflicted daughter Sybil; her internal stuggles are palpable as her duty to her suffocating mother clashes with her genuine affection for her friend Pollock.

There's a whole world within an hour here which is touching, affecting and hopeful all at once.

The more widely known The Browning Version sees public-school Classics teacher Andrew Crocker-Harris, about to leave his position. In rapid succession, he learns he has lost out on his pension, how little his pupils value him and that his heartless wife is seemingly in love with someone else. 

Parker portrays a character propelled into soul-searching for a sense of self. Parker is quiet and sincere, stiffly maintaining his dignity in the face of so many challenges. 

As Crocker-Harris' wife, Millie, Lolita Chakrabarti slowly reveals her resentment and disappointment with her life which leads to cruelty and spitefulness towards her husband, seemingly due to his only crime of being rather boring.

Jeremy Neumark Jones is very convincing as fellow teacher Frank Hunter and Bertie Hawes is excellent as reluctant pupil Taplow.

Designer Mike Britton's detailed revolving set brings movement and interest to both productions, that are necessarily static. Charles Balfour's lighting is less successful, with slightly stark brightness throughout. Valgeir Sigurdsson's atmospheric yet unobtrusive music creates a suitably uneasy and uneven soundscape.

There are elements of stiffness from the supporting cast that go beyond the inherent rigidity within the script, particularly in the first play. However, this is a modest and unobtrusively thought-provoking evening that reminds us of Rattigan's genius and shows director Dacre's proficient handling of his texts. Both plays will stay with you long after you leave the theatre.

Summer 1954 is at Richmond Theatre until 1 February, touring to Cheltenham Everyman Theatre from 3-8 February, then Oxford Playhouse Theatre from 11-15 February.

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