The Deep Blue Sea

‘The Deep Blue Sea’ is presented by Sally Burton’s Onward Productions in the lead up to the author, Terence Rattigan’s centenary. The performances of this highly admired piece of theatrical writing are at The Playhouse Theatre, Perth nightly at 7.30 pm until Sunday, 28^th November. 

        It is the early 1950s and in a rundown set of flats in Ladbroke Grove, the smart young, but worldly naive, business man, Mr Welch (Will O’Mahony) has smelt gas coming from a downstairs flat. He has alerted his cockney landlady, Mrs Elton (Julia Moody) who arrives in the national working class attire of the time, headscarf and rollers, floral pinny, thick stocking and carpet slippers. She uses her spare key to open the flat door, where they find the tenant, artist Hester Page (Alison van Reeken) drugged and lying on the floor in front of the gas fire. Hess is carried to her bed and another tenant, a scruffy, ‘struck-off’ German doctor, Miller (Greg McNeill) is called to help.
        Mrs Welch (Amanda Woodhams), a smart, business-like but serious and anxious woman, thinks that the police should be called. However, in those days, attempted suicide was an offence that often resulted in a jail sentence, and so Mr Welch suggested that contacting a friend or relative would be more prudent.
        Hester’s husband, the self-centred, totally selfish, yet alluring Freddie Page (Tom O’Sullivan)who has been retired from being a test pilot for about a decade, is out on the tiles yet again, enjoying himself with his old flying pal Jackie (James Helm). Mrs Elton said that she had heard Hester mention a Sir William Collyer (Michael Loney) and so he is contacted. With Sir William being a High Court judge was this a wise move?
        The story continues to examine Hester’s pathetic life, intense love and her future. She is filled with love to give, will she find the one to accept it.

Hester’s tormented love, her fall from fine living to squalor, is scripted in the style of ‘Brief Encounter’ and ‘The Remains of the Day’, relying very much on sensitive handling by the director and understated acting. With a magnificent cast and crew, many of whom are multi-award winners, things should be easy, but can director Mike McCall capture the full emotions of this wonderful tale? Definitely, the play was tremendous, the cast stunning. The superb characterisation by the author was conveyed perfectly by the actors. Alison’s central character of Hester, gripped the audience before pulling at a few heartstrings. Even though the story is over half a century old, and the storyline themes perhaps not so believable today, the script’s dialogue is still as moving as ever – in fact Alison van Reeken’s Hester leaves the 1955 film’s actress, Vivien Leigh, miles behind.

The set was striking. The design (Lawrie Cullen-Tait) was typical of the high ceilinged rooms of Victorian built, London lodgings. The unpainted walls, rough floor, filthy drapes and furnishings were well chosen to add that neglected air to the dwelling.
The hair and costume designs (Steve Nolan) were well-researched and tailored. Small details like shirt armbands, jewellery, and Dr Miller’s threadbare waistcoat all helped to give total authenticity to the play. 
Andrew Portwine ensured that his lighting design, whilst complex, was at a subtle minimal level and soft tone, re-enforcing the set designer’s grubby location.

How often is there such a moving love story on stage? Sadly, very rarely. When there is a triumph like this, why is the run always the shortest of the year?
Dare I suggest that, occasionally on an opening night, a second curtain call can be demanded by actors’ friends in the audience, here the applause was unanimous and sincere for the magnificent acting and outstanding production quality.
At one stage I had a lump in my throat, and another man was still wiping away the tears when the audience was leaving the auditorium – the cast had succeeded. Absolutely loved it.