People

A perfect storm of author, cast and director is seldom seen in the provinces but, thanks to the latest National Theatre touring production, we get to see just that in Alan Bennett's latest masterpiece with a West End standard cast under the expert guidance of Nicholas Hytner here at Leicester's Curve.
A superb cast which includes Sian Phillips, Brigit Forsyth (seemingly suffering with a throat or chest infection but soldiering on) and the ever dependable Selina Cadell, did Bennett's dialogue proud. The usual mixture of expected aphorisms and sly digs at the National Trust produced laugh out loud moments at the expense of Middle English pretensions and gasps and guffaws at the farcical physical comedy moments.
A noticable sprinkling of older ladies of a particular persuasion, the stuff'n'nonsense brigade in from the Shire, their tweed trews and wastcoats mingled alongside vocal members of Leicester's drama clubs and media students. A faint suggestion of TCP wafted across the footlights as the curtain rose on two old ladies cosying up under their patchwork blankets and bemoaning the limited options of financing their dotage.
The faded glory of Sian Phillips' Dotty and her faithful companion, an historically innocent alias for a BFF, reflected in the shabby, careworn old mink wrapped around her skinny body. A decidedly unglamorous Dame Edna and her bridesmaid Madge. Trapped in their poverty and unmotivated to try and escape it, the only options seem to be selling off the family silver to patch up the leaking roof or to hand everything over to the National Trust and endure the regular tramping of the titular people through their family home.
In the second half a solution seems to present itself when one of Dotty's past suitors appears and offers her money to use the house as a film location. There ensues a masterly piece of careful choreography to ensure that, while the porn movie is filmed centre stage, nothing is seen to frighten the horses. Dotty and Iris, the companion, are utilised as extras in the film, thus allowing the former Lady of the Manor to shine, albeit briefly, in a dusted down Hardy Amis frock rescued from the attics.
The finale where the broken down mansion, 'rescued' by the National Trust, is restored and gaudified to attract a modern visitor is a triumph of clever lighting and inagination.

© Paul Towers 26/9/2013