Home, I’m Darling!

Having been on an absolute roll throughout their 2024/5 season, the opening production of the Chesil’s 2025/6 season maintains the enviable standards we have come to expect from this dynamic company. The play itself would make a cracking start to any season, grabbing our attention right from the outset – in fact, even BEFORE the outset, if we look closely at that quirky title… not to mention the set, which bears close examination. Look at the main playing area…. and then look further upstage. Something is definitely a-kilter, and as it turns out, that’s absolutely intentional. The opening scene, a display of perfect domestic harmony and existence, might suggest that we have stumbled upon some kind of 1950s sitcom, the degree of domestic perfection being almost uncomfortably perfect. Judy’s costume, hair and makeup are pitch-period perfect, but as for husband Johnny…. perhaps not quite so. There’s something a little unsettling about it all, and anyone familiar with Bryan Forbes’ deeply unsettling 1975 film The Stepford Wives (which I was half-expecting this play to turn into, at least initially) will know that surface perfection in suburbia is seldom a true reflection. Thankfully, Home, I’m Darling bears no further resemblance to Forbes’ cult chiller, although it’s not long before we start to become aware of the cracks beneath the surface. Particularly when further characters appear, and we can’t help but notice that Judy, alone, seems to be living somewhat in a world of her own.

It’s such an intriguing play, and difficult to review without any significant “spoilers” along the way. Having never previously seen nor read the piece, I was captivated by its many changes of mood and direction. The original production was hugely acclaimed when presented at the National Theatre, and on reflection, I can appreciate why the NT would have selected such an original and multilayered play for presentation. Every time you might be thinking that you’re ahead of the action, there’s another curve thrown, and at least one such curve (in the second act) is likely to throw you completely.

There’s humour, drama, and particularly in act two, a few topical issues that remind us of the age in which we now live (as if we needed reminding!), and there were audible murmurs of recognition from an audience now clearly fully involved and invested in the action.  I didn’t read the programme notes until after the performance, and I’d respectfully suggest that future audience members might consider following suit – I’d venture to suggest that the less prepared you are for this one, the greater the effect it’s likely to have.

A mighty fine piece of contemporary writing deserves a mighty fine cast, and Director Heather Bradford has assembled as required. As Judy, Jo Conyngham delivers a tour-de-force of domestic resourcefulness (you’ll see what I mean), and even when silent, her beautifully expressive eyes convey myriad thoughts beneath the surface. You can’t take your eyes off her. Marcus Whitfield, as Husband Johnny, is no less compelling and watchable a presence, conveying to full effect the complex path the character is obliged to tread throughout the play. Alison Georgiou as Sylvia, Judy’s Mum, vividly conveys some of the play’s most powerful moments, while Nicky Hubbard as Fran is equally effective as the friend whose own life might not be as comfortable as she assumes – and the more we get to know Steve Clark’s seemingly innocuous Marcus, the more gripped we become as we realise what might (or might not) be going on. Stephanie Snuggs as Alex, Marcus’ boss, also creates an intriguing character, authoritative, practical, and yet still capable of being taken completely aback. (I’m still desperately trying to avoid spoilers!)

It all makes for a compelling, intelligent and entertaining evening, and it gives one plenty to digest and discuss. And it makes a delicious start to the Chesil’s new season.