THEATRE / On Theatre

David Benedict
Tuesday 20 September 1994 18:02 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Which one is it?

Is it the one set on three consecutive Christmas Eves?

No. I think it's the one with four couples and three bedrooms.

One day, Alan Ayckbourn will probably write a scene about people trying to remember the plots of his plays. It's confusing. No other playwright ends up having his or her plays distinguished in such a manner, but then no other contemporary playwright has written 47 plays, most of which dwell upon mortagages, marriages and the middle classes.

The technical finesse has always been admired. The early plays in particular tended to pivot around a structural and theatrical device. How the Other Half Loves (1969) has two separate sitting-rooms superimposed upon each other, climaxing with the dinner-party scene where a married couple simultaneously has dinner with two different hosts on two different evenings. Back then, however, it was fashionable to sneer at Ayckbourn (right) for poking fun at the bourgeoisie while appearing to endorse its values. But as the plays grew darker, people began to recognise the horror behind the comedy.

Which is where Joking Apart (1978) fits in. Michael Billington summmed it up by describing Ayckbourn as 'Scarborough's Ibsen', but he was also the one who saw Woman in Mind (1985) and proclaimed him our finest feminist dramatist. That observation pleased no-one, least of all Ayckbourn.

'Joking Apart' is at Greenwich Theatre (081-858 7755)

(Photograph omitted)

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in