Tag Archives: David Lindsay-Abaire

“Rabbit Hole” at Hampstead Theatre

When it comes to sensitive subject matter, a family’s grief at the death of a child is a particularly brave topic to tackle. But the sensitivity and intelligence that playwright David Lindsay-Abaire brings to his play will make you glad to have seen a work that feels so truthful.

The marriage of Becca and Howie is placed under pressure after the accidental death of their son. Claire Skinner and Tom Goodman-Hill are tremendous as this unfortunate couple. Following their ups as well as downs, seeing the differences in how they manage their bereavement, their strengths and weaknesses are revealed. Skinner is especially strong in the single scene where she breaks down. Restraint is the key to her character and the whole play – emotions are palpable but skilfully held in check in a rich text full of suggestions and suspicions, which explores grief but never feels exploitative.

Georgina Rich and Penny Downie
Georgina Rich and Penny Downie

Such is Lindsay-Abaire’s skill that, remarkably, this is a play with plenty of laughs despite the subject. Much of the humour comes from clever observations of social class in America. This is a family split demographically, with Becca’s mother and sister having a little of the “Jerry Springer” about them. Impeccably performed by Georgina Rich and Penny Downie, both are fully realised, appealing, characters and could easily have a play of their own. The point is that neither the play, nor its characters are paralysed by grief. After all, in the real world, you can’t be.

Sean Delaney
Sean Delaney

Becca and Howie are the focus but they come to fear “the face” from others who can’t deal with their tragedy – in particular, Jason, the driver of the car involved in the accident, who looks to find his own closure. In three short scenes, Sean Delaney makes his mark in the role. Becca’s willingness and Howie’s reluctance to meet him provide the play’s most heartfelt moments. Fittingly, Jason provides hope in the play, providing a scientific theory of parallel universes that Becca can take solace from (she movingly speculates that her present shows only “the sad version of us”).

Rabbit Hole is the second play by Lindsay-Abaire to be performed at Hampstead. Previously, Good People was a theatrical highlight of 2013 and a West End transfer that it’s to be hoped sets a trend. It’s a fruitful association for the venue and director Ed Hall, who shows a through appreciation of the writing and an ability to empower the cast to face the comedy in the piece. I can’t wait to see more from the combination.

Until 5 March 2016

www.hampsteadtheatre.com

Photos by Manuel Harlan

“Good People” at Hampstead Theatre

Another hit American play opened at the Hampstead Theatre last night. Following the run of Gina Gionfriddo’s Rapture, Blister, Burn Ed Hall’s theatre brings an award-winning play across the pond again, with Good People by David Lindsay-Abaire.

Impeccably directed by Jonathan Kent, with a superb set from Hildegard Bechtler, the play is about a working-class woman in South Boston. A story of the recent financial recession, and good old-fashioned class strife, it’s full of intelligent belly laughs.

I can’t imagine Imelda Staunton took long to say yes to the role of Margaret, who is with us in every scene. A great actress at the top of her game, Staunton slips seamlessly into this is fascinating and fantastic character. Recently laid off work, with a disabled daughter to support, Margaret is sharp as a knife and deeply human, endearing us to her with her enduring hope and her disbelief about how the other half lives.

HTgoodpeopleprod2013JP_00980
Angel Coulby

The return to Boston of an ex-boyfriend – who is quite literally the one that got away – gives rise to two fantastic scenes of comedy and confrontation. As a ‘Southie’ from the same depressed background as Margaret, now made good as a doctor, Lloyd Owen provides a suitable spar to Staunton’s talents as the now successful man taunted for being “lace-curtain Irish”. And there’s a lovely performance from Angel Coulby as his wife. The tension and the comedy mount wonderfully as Lindsay-Abaire throws race, gender and questions of inequality into the mix.

The play is too fleeting, indeed fast-paced, to give any big theme its real dues; but if it’s thoughts you want provoking this is dynamite stuff for debate. The banter is brave and biting, while Margaret’s true desperation and the fact we continue to hope she really is one of those ‘good people’ give it heart as well as humour. The story is resolved in a courageously short epilogue held in a bingo hall, which shows what a fine plotter Lindsay-Abaire is. The play certainly deserves a full house.

Until 5 April 2014

www.hampsteadtheatre.com

Photo by Johan Persson

Written 6 March 2014 for The London Magazine