Stream: The Deep Blue Sea
A classic English play, revived many times since its premier in 1952, was the NT’s latest offering in their series of lockdown performances. This production featured Helen McCrory in the lead role of Hester, the passionate lover of a semi-alcoholic former RAF pilot. The action takes place over the period of one day and opens with the prone body of Hester alone on the floor, discovered by her neighbours after a failed attempt at suicide. Sometime before it is revealed that Hester has left her former husband, a high court judge, for a passionate affair with Freddie, the WW2 pilot who is on the rocks. He eventually leaves her for a job in South America while she eventually comes to terms with her sorry situation with a neighbour, a doctor struck off for an undisclosed reason, and decides to embrace life instead.
Not the most cheering of subjects for those alone in these times of lockdown. However, the fast-paced direction by Carrie Cracknell, ensures the audience attention is held throughout. I viewed it with memories of the filmed version in 1955 with Vivien Leigh perfectly cast as Hester and my pin-up Kenneth Moore as Freddie the object of her passion. Since then that part has been played by several English pin-ups, such as Colin Firth and recently Tom Hiddleston. Unfortunately, Tom Burke (of Cormoran Strike fame) does not have quite the same charm. His interpretation was more modern Essex man than world war two flying ace. Hester’s husband, Sir William Collyer, played by Peter Sullivan, was strangely more attractive, especially in his final outburst, breaking free from his natural stiff upper lip demeanour. Perhaps it’s just my age!
As Hester Collyer Helen McCrory pulls out all the stops, with an accomplished and impassioned performance switching from pathos to charm and sophistication in a blink. Her delivery and diction are superb. A role coveted and played over the years by Peggy Ashcroft, Penelope Wilton, Isabel Dean to Rachel Weisz and Maxine Peake. Rattigan writes women’s roles well, placing them at the centre of the story. Think ‘Separate Tables’ 1957, and ‘The Prince and the Showgirl’ 1956. As the action progresses, we become intrigued by the reason for Mr Miller, the neighbour and quasi doctor, being struck off. Hester strikes up a moving kinship with him as he takes care of her. It is thought that he was probably ostracised for having a passionate homosexual relationship, like Hester’s passion for Freddie, mirroring Rattigan’s past. This part was ably played by Nick Fletcher whose one- liners were appreciated by the audience. A brisk interpretation. The supporting cast are competent and play the period well.
I suspect the success of this 2016 production was its appeal to the older supporters of the National Theatre, who recognise the seedy post-war flats with gas fires in Ladbroke Grove. The mention of gay cocktail parties and rakish test pilots would be common ground. However, an abusive relationship is universal, and this production delivered. Not everyone’s idea of a good evening’s entertainment, but good to see the National reviving classic plays by a writer who spanned several decades.
