A 70s sitcom with an absence of cheer. Rating
Ok
For the world premiere of the staging of Quartet in Autumn, written by Barbara Pym, the Arcola Theatre’s industrial space is ingeniously set with a sunken centre stage and notable absence of technology. We enter to soundtracks of 70s television and film, among them Kojak, Captain Scarlet and of course Van Der Valk; the audience engage as they recognise individual tunes, relaying memories and anecdotes.
Quartet in Autumn provides poignant observations of a group of work colleagues, aptly depicted by Anthony Calf (Edwin), Kate Duchêne (Letty), Pooky Quesnel (Marcia) and Paul Rider (Norman). Their characters are recognisable with their discourse on politics, “acceptable banter” and morals of the time. Edwin with religious commitment begins a touching conversation with God, followed by each of the characters expressing their perspective on religion, aging and the ‘future’ ahead. There is gravitas in the acknowledgement of three of the four having survived their mothers and only one having offspring that would survive them. Norman is deadpan and pithy in his musings on hypothermia, reflecting on whether it is caught, experienced or you “simply die of it”. Similarly, threads of conversation on retirement, the welfare state, social workers and aging are exchanged at pace, occasionally lost in audience laughter. Lines are quick and often salty and biting throughout the first act.
There are such detailed observations, from scarcity trauma behaviours, to longing for love and belonging, the fear for welfare, medical support, household bills and aspirations for time by the sea. There are social references to shopping (cheese 34p, bacon 46p), food quality and the arrival of international landlords with their spicy foods, kind hearts and worshipful singing.
In the second, pace limps, somewhat hampered by overlong focus on suffering, loss and the picking over of bequeathed items and lost opportunities. Whilst there are elements of humour, there is a protracted descent into mourning. The impact of one of the four’s absence echoes the loss of wit and humour. At other times, lines are confusing, perhaps misspoken, diverting a tender stage adaptation into murky confusion. This stage adaptation by Samantha Harvey rapidly loses breath and pacing, providing an apt parody for the process of aging we have the daunting privilege to face.
The staging (Skylar Turnbull Hurd) is engagingly lit, ably spotlighting solos, traversing the stage, returning to centring the unforgiving lighting of 1970s offices. Set design (Ellie Wintour) is clever, with sunken space, chairs and old desks complete with single spot lamps. Mirrors are thoughtfully placed; as each character has their back to the audience, their faces remain visible. Cast rotation for each season would enable the surrounding audience to experience each character.
Dominic Dromgoole’s directorial hand makes good use of numerous entrance/exits, though the staging of a red lit house on the hill as aspirational is unnecessary and could have been better described by the able Quesnel. The complex set change to a restaurant during the interval is underutilised, and the transition to a chapel of rest is noisy. Place settings would be better gathered whilst the characters are seated, rather than cast members struggling in the dimly lit well to secure dining debris and move chairs and tables. This becomes a distraction, overwhelming the gentle voiced Duchêne, though Quesnel is touching in her final appearance. Apt use is made of an industrial pillar, pillow and stark lighting depicting 1970s clinical sterility and the loneliness of suffering.
The endearing casting delivers many 1970s references ranging from humour, to toxicity, to tenderness with commitment and compassion. Occasionally barbed, often reflective and vulnerable, the show delivers fond reflections of a different era.
Based on the novel by Barbara Pym
Stage Adaptation by Samantha Harvey
Directed by Dominic Dromgoole
Assistant Direction by Cara Dromgoole
Production Management by Fay Powell-Thomas
Associate Production by Rachel Edwards
Set & Costume Design by Ellie Wintour
Lighting Design by Skylar Turnbull Hurd
Sound Design by Ella Wahlström
Costume Supervision by Bea Viña
Stage Management (on book): Naomi Shanson
Assistant Stage Management: India Martin
Voiceover Artist: Simon Kunz
Quartet in Autumn plays at the Arcola Theatre until Saturday 20 June.
