Sitting Pretty (tour)

John Doyle’s production of Amy Rosenthal‘s ambitious bittersweet comedy bravely negotiates a variety of themes; the nature of love and relationships, the essence of art and beauty, as well as a life-affirming response to ageism. Whilst, with a large cast of 10 and in a series of short scenes, the young author sometimes loses her way and blurs her focus, the play nevertheless gives the audience plenty to think about whilst providing an entertaining evening, touching character development and naturalistic dialogue.

The premise is simple. Two sisters of a certain age – Nina (Maureen Lipman), a sharp and somewhat insensitive tour guide at the National Gallery – and her unworldly, frumpish sister Nancy (Aviva Jane Carlin) – live together somewhere north of Regent’s Park. Nancy loses her job and spirals into depression; Nina is unsupportive, saying ‘You’re grieving, but no one’s dead!’

Nancy stumbles into a job as a nude model for a life-drawing class run by a womanising artist – Max – with a mental block (played by Brian Protheroe). An affair with a pretty (and much younger) model has just collapsed in recrimination and guilt. The first act curtain, when Nancy reluctantly undresses for her first session, is the symbolic start of an exposure of the characters’ neuroses leading to a resolution in all their lives. As Max re-discovers his inspiration in a painting of Nancy, she, in turn, re-discovers her self worth. Nina’s underlying bitterness is exposed but she too manages to ‘move on’.

The interdependence and inter relationships of the various personalities is observed by the members of the art class who are something between a Greek chorus and the cast of Stepping Out. Glimpses of their own lives provide some amusing moments.

This is not a star vehicle. Lipman (the author’s mother) gives an effective but low-key performance, leaving much of the limelight to Carlin. She provides a convincing portrait of a shy and naïve spinster whose time is to come. Protheroe’s commanding portrayal overcomes the clichés inherent in the character, and the subsidiary players all provide effective support.

The play is not without its faults. There is too much declamation and too little true conversation. However, the piece is sufficiently well written to maintain interest even during the longeurs. Emily Couper‘s minimalist, somewhat abstract set, is at various times a sitting room, an art class and the gallery’s coffee shop. With some interesting lighting by Jason Taylor, it provides its own centre of interest.

Amy Rosenthal clearly has the ability to both entertain and stimulate an audience. I foresee a great future for her. This is a play well worth seeing.

Stephen Gilchrist (reviewed at Southampton Nuffield)