Reviews

April in Paris (Tour – Manchester)

April in Paris remains a timely piece, says Sarah Bloomer.

Glenn Meads

Glenn Meads

| |

5 September 2014

April in Paris
April in Paris
© Shobna Gulati and Joe McGann

No man is an island. A shrinking economy, a neighbouring European antipathy and an onslaught of increasingly insular attitudes in broken Britain fuels the despondency of the downtrodden everyman. Until a one-night getaway in the world’s romantic capital revives the hearts and minds of one dysfunctional couple that will always remember April in Paris.

Al and Bet are a working class couple with a failing marriage and a stagnating existence. Unemployed and uninspired Al (Joe McGann) is a depressed and bitter pessimist to his chirpy counterpart Bet (Shobna Gulati) who longs for a better life. A reluctant competition win sees the couple thrust into misadventure as they find, beneath the complaints and unhappiness, a simmering appreciation of one another.

Written and directed by acclaimed northern playwright John Godber (whose unique blend of observational comedy lead to an Olivier nomination) April in Paris was originally penned in 1992 as part of the Hull Theatre Festival.

Godber was especially keen to create a piece that reflected the struggle on the northern working classes without succumbing to typecasting. Insightful and touching, humourous and entertaining, there is a sadness at the core of this couple’s plight that resonates through this play and the greatest reflection of enthusiasm for life regards things as "not bad". "Can you remember a laugh?" pleads Bet. Sadly, for the most part, they can’t.

A two-hander piece may have initially proved cost-effective for cash strapped local theatre, but it also serves to retain the focus on the narrative. Both actors manage to sustain the tone, the comedic interludes and poignancy of the play with veteran style.

There is an interval set change that exchanges the bleak northern landscape for the dazzling lights of Paris and a more up-tempo soundtrack to reflect the shift in optimism. But neither character seems to achieve a satisfactory conclusion — slipping back into a familiar depressing routine that renders April in Paris a mere pause for thought rather than an alchemy of clarity.

No man is an island, but in an age of austerity, defection and political uprising, April in Paris is perhaps as timely now as it has ever been.

April in Paris is at Manchester's Opera House until 6 September.

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