Its been weeks since I saw this wonderful production and its still buzzing around in my head. Its the best play Ive ever seen at the national or for that matter at any theatre. Cumberbatch, Carroll and Scarborough were quite extraordinary. I am in awe of their acting ability. Such a shame the run was so short because I;d have seen it again and again. If only the play was recorded so a larger audience could see this masterpiece. I do hope Cumberbatch has a chance to make a film of the play. - Jenbrady
13 Sep 10
It's no surprise that After the Dance closed so quickly in 1939. An audience facing another war was hardly likely to be in the mood for a play about a bunch of hedonistic wastrels - they probably hoped the whole lot of them would be wiped out in the Blitz. With one major caveat, Thea Sharrock's wonderful production, with a breathtaking design by Hildegard Bechtler, shines a new light on the "lost" Rattigan which moves from Cowardesque frippery to something far deeper. Unfortunately some of the effect is distorted as the play is grossly miscast with very few actors of the right age for their characters. One of the exceptions is Adrian Scarborough, revealing unexpected depth and insight behind the silly ass wisecracks. Nancy Carroll, although far too young for Joan, is heart-breakingly moving as she confronts the loss of her husband who she has never revealed her true feelings for. Benedict Cumberbatch has none of the roguish charm required for David (not suprising based on his humourless appearance on The One Show). He's supposed to be the same age as Scarborough's John and acts as guardian to Peter who is played by an actor of roughly the same age. There is also an irony that in a play about the perils of drinking most characters blithely smoke themselves into an early grave. However, despite these flaws, the quality of Rattigan's writing and observation makes this a very welcome discovery. - David Baxter
11 Aug 10
I cannot praise this production highly enough. It delivers at every level - brilliant writing, superbly staged and acted impeccably by an excellent ensemble cast. Benedict Cumberbatch gives a perfectly weighted performance and Adrian Scarborough gives one of the finest performances I have seen from him. For me Nancy Carroll shines as Joan. The moment where she is left alone after having had confirmed what she always knew, that her husband was in love with another woman was incredible. She turned away from the audience and quietly crumbled, without speaking or barely moving. Acting of the highest order. This is one of the best productions I have seen at the National or indeed anywhere else in a long, long time and deserves its success. I just wish the run was longer; I'd love to see it again. - Paul Wallis
09 Aug 10
To say I was hugely impressed by this production would be scant praise for what I felt was one of the finest productions I've seen on the Lyttleton stages in many, many years. Staged superbly, this wonderfully written play had it all, acted impeccably by an outstanding ensemble cast. I was gripped from start to finish, totally immersed in the world of these fascinating characters. Cast to perfection, each part was superbly played; Benedict Cumberbatch giving a perfectly weighted performance. Sometimes great acting is about whats not spoken and for me the stand out moment of the play was when Nancy Carroll's Joan said goodbye to Helen after having what she'd always known confirmed; that Helen was in love with her husband. Carroll as Joan turned her back on the audience and seemed to physically crumble without speaking or barely moving. It was a stunning moment that sent shivers through me and set in train the tragic events that inevitably followed. This play deserves the success its achieved. Its a shame the run is so short - I would beg for a ticket to see it again. Outstanding! - Paul Wallis
07 Aug 10
Lovely stuff. What the NT does particularly well is to assemble great ensemble casts (without recourse to big star names) and explore less familiar British 20th century drama. This fits into the Time and the Conways or Voysey Inheritance Lyttleton slot, introducing great plays of their time to a new audience. To see two of my favourite actors, Benedict Cumberbatch and Nancy Carroll, together was a joy. Long may it continue. - dgr1
30 Jul 10
Isn't it interesting how differently people react to the same play? I can't believe that some people found it so boring that they had to walk out after the first act. I was riveted from the very first minute, and rejoice that this work has been brought back into the repertoire. It is on a par with Rattigan's 'Deep blue sea' and 'Separate tables', and this production (while not quite deserving of five stars - I wish I could give it four and a half) is one of the best things the NT has done for a long time. Benedict Cumberbatch and Nancy Carroll as the married Scott-Fowlers are both superb, and they are supported by an all-round excellent cast. And isn't it time that Adrian Scarborough was recognised as the great actor he is? His transition from drink-sodden buffoon to sympathetic sage is both convincing and very moving. Thea Sharrock's direction is faultless. An evening of pure delight, not to be missed. - sc
22 Jul 10
After reading all the good reviews for this production I had high expectations. Unfortunately they were nowhere near met. I can see why it's not performed very much. Very uninspired writing and nowhere near as good as Separate Tables or The Deep Blue Sea. There were a couple of good performances (Jenny Galloway pretty much stole the whole show for me in her 5 mins!), but I would have expected better at the National.
The directing was really bad though. When not sure what to do, just send the character to the table of alcohol for a refill! Also, would someone in that era have walked into an upper class apartment and sat on the back of the sofa?
The whole thing just seemed like an upper class episode of Eastenders to me. Very uninspiring. - Steve
20 Jul 10
This left me cold and so I left at the interval. It was uninspiring with an ill mix of cast. Adrian Scarborough doing his usual turn, this time the grouchy sponging toff - give us a break! The Lytttleton's huge stage was used to good effect, but to not much avail. The NT seems to have lost its way of late - but, interestingly, there are pearls to be seen at the moment on the Southbank and one is Spring Storm, currently playing to sold-out houses in the Cottesloe but it's a Royal & Derngate, Northampton production not the NT's - but that's all for another blog. I had the good fortune to see the Shaw Festival of Canada's production of this play last year and the NT had a lot to live up to - unfortunately it didn't. - rds
12 Jun 10
With The White Guard, The Habit of Art and this all running in rep. in the Lyttleton at the same time, you'd be forgiven for moving in. I will be showering this 'lost' Terence Rattigan play with even more superlatives than I did the other two; it will go down in the NT's history as one of its great achievements. Soon after it begins, you think you're at a Noel Coward play; it doesn't seem like Rattigan at all. It isn't until the second act when the depth and complexity comes through. What at first seems to be a satire on the decadent lives of the pre-war upper middle classes soon becomes a fascinating study of relationships and love. Quite why it is rarely produced is beyond me; I love Rattigan's plays and this is without doubt the best of the seven I've seen. Thea Sharrock's production is masterly; so subtle and nuanced, every word, expression and movement has meaning. Hildegard Bechtler's Drawing Room set is so realistic it's like time travelling back 70 years. It has one of the best acting company's put together at the National; many of them new to the NT. Adrian Scarborough moves from court jester to knowing friend and confidante (just about the only emotionally intelligent character in the play) seamlessly. Nancy Carroll is so good as the superficial socialite when she break's down its devastating. Benedict Cumberbatch's repression is so real you jump when he explodes. In the supporting company, Pandora Colin is a superbly comic party animal and Jenny Galloway a wonderfully pessimistic secretary. This is such a satisfying theatrical experience - great play, terrific performances, faultless direction & design - you'd be completely bonkers to miss it. - Gareth James
11 Jun 10
Three hours just sped by. Elegant, precise, witty and almost unbearably painful. An extremely classy production, helped by fantastic acting in the supporting roles. I could have looked at the set for hours and the lighting is masterful. - Russells Theatre Reviews
09 Jun 10
Why are some people so miserable? There was not one reason to walk out.This production was well directed,played,lit, and faultless. Scarborough is fantastic!
Enjoyable evening that deserves the praise of your reviewer. - steve
09 Jun 10
A haunting evening - it's still with me two days later. - Eddy
09 Jun 10
Excerable. Thea Sharrock takes us back to the amateur theatre of the fifties ,a bunch of second rate actors surrounding a handsome leading man who will surely go on to better things. Like her Misanthrope this is a deadly directed production that flatters the middle class critics and audiences alike.Rebekkah -I stayed for all 3 acts of this over long and poorly paced producion and the last 45 minutes weren't any better than the previous hours and hours...... - Gary Grant
09 Jun 10
There might well be a good reason wny this play has not been performed for more than fifty years. This is a thin play written when Rattigan was young and before he discovered his real 'voice'. Faye Castelow has a long way to go before losing her current wooden acting abilities - will somebody tell her to stop allowing her arms to hang motionlessly down by her sides or, at best, lifting them from the elbow only - and, unfortunately, being cast in a pivotal role and lacking any suggestion of the charm that should be present to so beguile David, casts a shadow over some decent performances from other cast members. Excellent set and superb costumes but a production lacking in tension and without any sense of underlying desperation. In fairness, I left during the second interval having had quite enough of what I felt was a pedestrian production, so things may have improved in the last 45 minutes. - rebekkah
04 Jun 10
Almost unbearably stunning. Adrian Scarborough at his finest with John Hefferman once again impressing with his well-considered performance and elegant stage presence. Whilst Nancy Carroll's delivery is perfect it is, of course, Benedict Cumberbatch that thrills. Look out for a scene-stealing cameo from Lachlan Nieboer. It was wonderful to see a an old-fashioned box set once again at The National and thrilling to discover a new-to-me Rattigan play. An interesting piece of theatrical history which never flagged even at first preview but, most of all, a thoroughly fascinating evening's entertainment. - carrie
