Scene1+

19 May 2025

This is “live” theatre at its best with Maskers at the top of their game, exploring Ayckbourn’s take on the class and success ladder, masterfully showing us the pitfalls and actual meaninglessness of it all. As a reflection on money equals happiness shows more the opposite, and the cynicism also aligns with status and success; behind closed doors, the pipers have to be paid.  And what a price, as each character in 3 Acts takes centre-stage and shows the real scenario of their lives, not the false vanity and snobbery painted on for others to see

Set in a the 1970’s with a well-placed David Cassidy photograph just to emphasise the point alongside garish fashions, the audience expected the laughs but became more unsettled as the play progressed, mainly because of the ease Hazel Burrows pulled you into the narrative from the get-go, her exceptional cast having every nuanced emotion teased out of them despite 70’s attitudes colouring both the set, women’s place in the world and language.

I went into this play unknowing and very much enjoyed the journey so I am being careful with spoilers except to say I was unsettled. An aura of tension pervaded throughout with the male characters particularly stating that the odd slap would come their respective wife’s way if they didn’t behave. Even the nicest of characters in Sidney gave a warning and the stance exhibited by the other 2 definitely showed you who was in charge and violence in reaction was never far away. So matching that alongside sympathy and the bizarre set ups of the respective 3 years of Christmas Parties, including the never seen “proper friends” and George the dog, was always going to be a challenge.

Ian Wilson and Kate Grundy-Garcia as Sidney and Jane were met first and set the tone for the rest of the evening. With energy and complete understanding of their roles. Although absurd plot-wise, they made the whole thing totally believable. Jane’s warm personality closeted in her cleaning and Sidney trying to manoeuvre his way up the ladder by inviting acquaintances with influence and impressing them was so well timed and performed you could easily identify with them. As indicated earlier, just a little of male ego, standing a little too close and at least twice stating for “her” not to let “him” down and comments on attire added that frisson of awkward viewing from a 2025 perspective.

Never more so than the relationship of Geoffrey and Eve played by Paul Baker and Abi Linnartz. The middle class version if you like and he made it absolutely clear what would happen if Eve did not tow the line. Despite his mannerisms, actions and blatant misogyny, Baker made the part not so despicable that he alienated himself. Very much a product of the time his character would not be out of place in “On The Buses” but not so inaccessible: we recognised the traits. Linnartz was superb throughout amongst all the superb performances, both heartbreaking and never out of character. Her amazing performance through the 2nd Act, so well-choreographed and set up, was a masterclass in thought and deed. As it unfolded it was a realisation that the minutia of life always takes precedence over the bigger picture; the small things like cleaning the oven out, fixing the tap and electrics were far more important than the living beings. Amazing and, again, I laughed, despite myself.

Ronald and Marion played by Duncan Randall and Marie McDade came to the fore in Act 3 where the real couple behind Act 1’s initial top-dog snobbery and status were revealed as complete unhappiness. The shabby kitchen and clothing including ill fitting garments at complete odds with the peacock fashions of before. McDade made trying to put on a slipper complete sense, her characters’ descent into an unknown world softened only by alcohol was exquisitely compelling. Randall may have been perceived initially as aloof and distant suddenly became pathetically pitiful slumped in an armchair.

Direction was so clever and putting the play on in the round was a bold decision that really paid off. I would recommend watching the fascinating transformations of the set between ACTS by a well-oiled machine of a team complimented by excellent sound and set design: cookers and cupboards and the washing machine all being cubes that revolve and slot around each other. So good!

Although the play is a comedy, it is very dark with a Third Act that seems to end unexpectedly. I suspected a revenge motive for the final “dance” which was just a dance led by the two people who initially were at the bottom but in some ways were now going to be the saviours of the others. It is for us to perhaps decide their eventual fate of the 2 new kids on the block as with unanswered questions as to the antics of Act 2 whilst alluded to are never fully explained.

I am reminded of a quote about history: the past: they do things differently there. The less laugh-filled Act 3 underscores the bleak reality of climbing the social ladder and whether the price tag on the reality of the human is worth the outward status be it a new kitchen or trying to move into higher social circles. None of the characters experience “love” believing only the sham of themselves. Sad, thought-provoking, uncomfortable, humorous and enthralling all at once: everything good theatre should reflect and educate and enjoy. Bravo!

- David A Putley