Monday, June 3, 2013

People Review

People
NT Live - Lyttelton Theatre, London

Alan Bennett is known for attacking institutions and in his latest play, People, he is targeting the National Trust. The central character is ageing aristocrat Dorothy Stacpoole (Frances de la Tour). She has retired from fashion modelling and is now languishing with her companion, Iris (Linda Bassett), in her deteriorating stately home. She is being pestered by her younger sister, archdeacon June (Selena Cadell), to hand over the estate to the National Trust. Dorothy hates the idea of opening the estate to the public, and instead tries to find other users or buyers for the property.

When watching the play I was laughing along to many of Alan Bennett's digs at the issue of heritage. It is clear that he has not lost the ability to write up witty dialogue. Yet whilst he cleverly shows many of the problems within the heritage industry, he never seems to have anything to say about the issue himself. The production overall feels safe, with nothing really to take away and think about.

It does however have a strong cast. Both Frances de la Tour and Linda Basset play the old and dignified aristocratic and long serving follower well. They are indifferent to the decaying state of the house and react indignantly to the idea that the place should be put on display. As Dorothy defiantly declares at one point "This is not an allegory house". Like the house they have become isolated and worn down by age, but when the porn company arrives Dorothy is revitalized and returns to her youth.

Visiting the pair are Miles Jupp as Bevan, a slimy front man for a group of buyers, and Nicholas Le Prevost as a passionate National Trust representative. Selina Cadell as June is insistent that the house should be given to the National Trust, but at the same time she is a caring sister to Dorothy. Overall the characters are constrained by the superficial points that Bennett makes but does not expand upon.

The set shows a decaying aristocratic state room. Chairs are covered in sheets, portraits stand up against the walls, and numerous objects clutter the room. It is worth seeing the room transformed into its original pristine state during a ballet-esque restoration sequence.

This is not one of Bennett's best, and weeks after seeing this I have forgotten most of the points he was trying to make. That said, it is worth a Bargain to enjoy Alan Bennett's witticisms  and some solid acting  by Frances de la Tour and the cast.

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