To Have and to Hold review

For the most part, the characters leave their feelings unspoken, but Wilson and Johnson ensure that plenty of subtext is conveyed non-verbally. In private moments, looks of desolating grief or undisguised tenderness flash across the characters’ faces, only to be quickly stifled. James Cotterill’s realistic, densely detailed set lavishly recreates the Kirks’ dated but cared-for home, right down to the dainty floral wallpaper and the burgundy carpets. In a repeated sight gag, a working chairlift descends frustratingly slowly from an upper floor.

Marion Bailey carries much of the show’s humour as exhausted, plain-spoken Flo, making her character’s frequent malapropisms and comic misunderstandings feel fresh and natural. Christopher Fulford and Hermione Gulliford play the Kirks’ children: Fulford’s whiny, facetious author Rob hides his concern under a facade of snide superiority, while Gulliford is all brittle, cold confidence as amoral business manager Tina. Adrian Hood provides an interesting counterpoint as gregarious, rough-around-the-edges neighbour Eddie, who shows more care and affection for Jack and Flo than either of their offspring can muster.

Alun Armstrong’s Jack is a satisfyingly complex character, mentally sharp but distressed by his physical weakness, and miserably lonely, having outlived his friends. Hands shaking and voice trembling, Armstrong captures all of Jack’s frailty, but becomes alert and animated when he tells anecdotes from his time on the police force. Related in quiet, self-contained scenes, these snappy stories feature a pleasing mix of intriguing details, dark turns and witty punchlines, giving a substantial lift to a production that otherwise feels stuffy and subdued.