There is much to admire in this production, not least the excellent acting, especially from Lesley Manville. The play is well staged and the small details are spot on, yet I left feeling frustrated by the lack of plot. It was obvious from early on what the outcome would be and whilst the characters - Gertrude, Muriel and Hugh offer delightful diversions, the ending is never in doubt. - Paul Wallis
15 Jan 12
The last Mike Leigh play I saw was, despite being called Ecstasy, a pretty grim experience, so it is no surprise that Grief provides two uninterrupted hours of nearly unrelenting misery. It's very cinematic in structure, comprising a series of short scenes punctuated by dimmed lights. It's also too long and repetitive although Leigh would presumably claim that this emphasises the grinding monotony of the existence of grief-stricken Dorothy, her unhappy daughter and her brother facing an empty life after retirement. Some of the chronology doesn't stack up but the conflict between Dorothy and Victoria is even more horribly believable than in Jumpy, although some of the dialogue seems a bit too modern for 1957. As always Leigh has collaborated to produce some extraordinary acting; Lesley Manville and Sam Kelly convey the desperation of their situation and bleak emotions through the subtlest changes of expression and their "sing-a-longs" are deeply touching. Unfortunately Grief suffers from my most common complaint about Mike Leigh: he puts these characters on display for us to observe, pity and frequently patronise without suggesting a shred of empathy or sympathy for them. - David Baxter
24 Nov 11
The best new play I have ever see. - Taljaard
29 Oct 11
I thought this play was dull. Well acted and well staged (of course!) but very very dull. No story or character developement. I would have left if there had been an interval. There were a few mildly amusing bits I suppose, but mostly I could not muster up any connection with any of the characters. We go to the National about once a month and this was the least enjoyable we have seen in the last couple of years. - blue
08 Oct 11
Stereotyped, sad, lower-middle class life in the fifties - no development, no action, no play. Incredible characters who find no way round their suburban prison. And no visible bars on the windows or on the doors. Not even much grief! Very tedious. I was with polite people so did not shout at the stage, 'Get off your f***ing arses and do something.' - Clive Sollish
08 Oct 11
The finest acting to be seen in London within a mesermising script. Less is more and this is more or less superb. This is theatre as it should be and not and not a mind-numbing musical rendition of some old film. Speaking of music, though, Lesley Manville and Sam Kelly's singing is spine chilling. Thanks, Mike Leigh and the RNT, for a wonderful theatrical event. - Carrie Cohen
01 Oct 11
Compelling and oppressive, Lesley Manville plays Dorothy, a black hole of grief, who threatens to suck in and destroy the happiness of all around her. She is spot on in her portrayal, and I found myself delighted by the appearances of the non-depressed, though otherwise utterly irritating, characters, who brought a welcome sense of emotional balance (David Horovitch is wonderful in this way). Sam Kelly's portrayal of Dorothy's brother, Edwin, who must live day and night under Dorothy's cloud of paralysis is poignant and heartbreaking. Ruby Bentall convincingly shows what it is like to be under the control of a depressed zombie of a parent. You know you're watching a good play when it changes your attitudes to something. . . Next time I come across a grieving person, I may be tempted to give them a slap. - Steve
28 Sep 11
What a terrific and perceptive review. It is fascinating to see the diverse responses to this production. Like Peter Brook, Mile Leigh refines his "action" into a moments in which British society was "between two worlds" and captures them in amber. I could admire the production but never fully engaged with it - partially due to the plethora of short scenes which did not allow you to be caught up in the action and partially through the rather stylised direction. Still this may have been deliberate and allowed you to observe and think about the play rather than become emotionally seduced by it. The acting, design, lighting and production were all superb even if over 2 hours without an intermission is rather on the long side. Yes, I know movies are often longer but theatre brings with it different expectations and tolerances and the NT seems to have a love affair with very long pieces without intermission - so use the loo before you go in!! - Audient!
28 Sep 11
Good Grief ! - mjp
27 Sep 11
Loved every second of this play. Superb performances, especially from Sam Kelly and Lesley Manville. On the face of it nothing much happens but the characters eyes and movement says so much. That's where the story is! - SJS
26 Sep 11
Beautiful play, have to disagree about "emperors new play", Ifound the evening very moving and the final scene sent tingles down the spine. Excellent acting throughout the evening. - n2blue
24 Sep 11
Two hours of sheer boredom, nomatter how well acted, is very hard to take. - LLKK
23 Sep 11
Very disappointed by this one. I expected much more from Mike Leigh. There was absolutely no character development and nothing happened plotwise. The scenes were too short as if the play was based on a screenplay. The actors of course were excellent but their roles didn't enable them to show their range. - Manos
22 Sep 11
The Emperor Has a New Play - why do critics fall over themselves about Leigh's work? Two hours of very little happening, though the teenage character provides amusement with endless 'I hate you Mummy' speeches before running offstage followed by the loud slamming of a door. Thin and repetitive. - addicted to theatre
