Forward-thinking examination of the possibilities of marriage
Ever wondered what the key is to a successful marriage? A combination of respect, loyalty and a deep understanding of one another, perhaps? In Miles Malleson’s 1933 play, a less tidy and far more hazardous approach to romance is toyed with. Written in a time when polyamory was hushed up and hidden behind closed doors, it presents pre-agreed infidelity as something intensely human – however turbulent the practice of it might be.
Stephen and Anne are the “happiest married couple” among their friends. But when Stephen faces a creative block and is unable to write his next great work of fiction, Anne is sure that there is only one way to re-inspire him. “Go and get into mischief,” she instructs her husband, as simply as she might ask him to make her a cup of tea. With her backing, he embarks on an affair with his very beautiful, recently widowed friend Diana. It is all exhilarating fun and games until jealousy inconveniently starts to creep in.
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Jonathan Bank’s revival of Malleson’s forgotten play was first seen in New York in 2017. It is, in many ways, inconceivable that this jolly, forward-thinking drama was left unperformed for so long. Yet while its content is courageous, its form is more traditional. One minute it’s all farcical winks and asides, the next it’s stiff upper lip and British politeness. The result is a piece that is never quite certain of its identity; it’s pulled in two directions, its tone uneven.
Malleson’s real skill is in his ability to build characters who are conflicted and flawed; in voiced and unspoken turmoil. Anne, played fiercely by Laura Doddington, embodies the reluctance of someone unable to admit defeat, while Guy Lewis’ Stephen exists – for the most part – with his head in the clouds, ignoring their problems. The ebbing and flowing closeness and distance of their coupledom is frustrating, and Malleson doesn’t shy away from showing both the magic and endless difficulties of walking the sharp knife-edge of an open marriage.
Is it worth all the complications? Malleson’s characters go back and forth on the answer. There’s confusion and joy, and Bank’s production is all the richer for it.
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