In Praise of Love

Synopsis

For twenty-eight years Sebastian and Lydia Cruttwell have endured a marriage of cold hearts and restrained emotions. Lydia is obsessed by her traumatic past and Sebastian is preoccupied with his failed writing career and permanently at odds with their son, Joey. In the last six months circumstances have forced a change of attitude, but in lives so long ruled by false fronts, and deceptions, the truth is not so easy to disclose. In the space of two evenings a rush of revelations puts them both to the ultimate test. In spite of everything, it looks as if love is about to triumph....

Our Review:

Michael Coveney - 7 April 2011

Written four years before his death and ten years after his previous play, Terence Rattigan’s In Praise of Love is not slighter than his best plays but a good deal lesser. It mugs the audience with emotional blackmail: leukaemia victim knows she’s dying and tries to conceal the blow from gruffly unreasonable but loving husband; who knows anyway but doesn’t want her to know that he knows.

Loosely based on the real life situation between Rex Harrison (who played the husband on Broadway) and Kay Kendall, Rattigan adds a best friend -- a successful writer, an American, Mark Walters (Sean Power) -- and a 20 year-old son of the couple, Joey (Gethin Anthony), who’s campaigning for the Liberal Party in a by-election (the play dates from 1973) and is about to have his first play produced on television.

Weirdly, the husband, Sebastian Cruttwell (Jay Villiers) is a Marxist literary critic with reactionary opinions, and the...

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Latest User Review

Gareth James - 8 April 2011:

My fourth Rattigan in his centenary year, but my first visit to the lovely Royal Derngate in Northampton. Like Cause Celebre, this is late Rattigan – you can tell from the early 70′s dialogue alone – not at all what we’re used to seeing revived. It’s a four-hander about a rather boorish writer and his Estonian wife, their son and family friend. The marriage appears loveless (on the husband’s part), the best friend is in love with the wife and the father-son relationship is somewhat strained. As the play progresses, particularly in the second half, secrets and lies are revealed as is the true theme of the play – that we express love in many different ways, many of them unseen. The trademark Rattigan emotional repression and restraint are there but, like Cause Celebre, it feels more modern. To say much more would be a spoiler, so I won’t. Naomi Dawson has created an evocative Islington flat with more books than your average second-hand bookshop (which all seemed real from the third row of the stalls). It’s very realistic but gives the play an intimacy you might not expect in a theatre of this size. Richard Beecham’s direction is subtle, restrained and sensitive allowing the story, characters and dialogue to breath freely. Jay Villiers is excellent as the overbearing husband / father, a larger-than-life character who dominates all around him. Geraldine Alexander avoids the pitfalls that often make a heavily accented character unreal and gives a very moving portrayal of a long-suffering ex-refugee besotted with both her son and her unfaithful husband. Sean Power’s American pulp fiction writer has to play differently against both and does so very well. Gethin Anthony captured the combination of youthful enthusiasm and rebellion in the son (though I have my suspicions he’s wearing a dodgy wig!). Delicate music and slow curtains setting the scene and ending each half created a thoughtful atmosphere and the closing moments as father and son sat playing chess in silence spoke volumes. This is a lovely little play given a pitch perfect production. Well worth a trip up top Northampton and a welcome contribution to the centenary....

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