Dear Readers,
Some things never change. Although war has remained a shadow over the past century, Dear Jack, Dear Louise is a playful reminder that love and hope stay just as strong. Bringing buckets of charm and energy, it is making its UK premiere at the Arcola Theatre, directed by Simon Reade.
Through the medium of letters, this romcom tells the story of Jack and Louise, a US Army medic and a go-getter actress in wartime America, who devotedly write to one another but are unable to meet face-to-face.
In act one, the two begin their correspondence at the behest of their families, before becoming fast friends, regaling one another with anecdotes and updates on their wildly separate lives. The light humorous tone was unexpected and seemed to land really well with the audience. Act two picks up the pace and gives a deeper look into the reality of the Second World War, especially as it intensified in its final year. The war and the extraordinary circumstances of their relationship put strain on both Jack and Louise in differing ways, and beneath the comedic layer of light-hearted humour, Dear Jack, Dear Louise shows the fear and despair of the times.
Studio One at Arcola has an unconventional layout, but the team managed to utilise the space well. The standout part of this play was far and away the set. It is clear that so much thought was put into it, from the stark contrast between the army barracks writing desk and Louise’s 20th-century New York apartment, to the subtle changes that could be made quickly to show the passing of seasons, to the sheer number of letters stashed away for the actors to pick up.
And speaking of: the most noticeable part of the set design is the ceiling of letters, strung above the stage. Although it earns points for looking undeniably cool, it is also used practically in the second half of the show in a particularly dramatic moment. Every part of the set was enveloped in intentionality, practicality, and style, with each piece coming together to thoroughly convince you of the setting.
The sound designers also deserve a special mention, seamlessly incorporating music and sound effects into the performances. There was one particularly striking moment, one of those small details that tends to stay with an audience long after the show, where a non-diegetic song slowly transitioned into one playing on Louise’s radio. It is a trick usually reserved for film, and it worked beautifully here.
In terms of the actors’ performances, Dear Jack, Dear Louise also gets the stamp of approval. Despite the challenge of the medium, the two had great chemistry, impressive given that they are never able to look at one another on stage. Preston Nyman, playing Jack, and Eva Feiler, playing Louise, both brought tremendous energy to their roles and gave real life to written correspondence. Accents held up most of the time too, and there was a pleasing rhythm to their line delivery that worked especially well for Louise, who is a thespian and a dancer.
If one nit-pick were required, for a show told entirely through letters, some of which take weeks to arrive, it felt a little scared of letting silence sit and allowing pauses between lines. Still, it is hardly worth mentioning, and the show received a well-deserved standing ovation at the end. Among the audience, there were more than a few visible tears, whether of joy, sadness, laughter, or a combination of all three.
With Arcola’s pricing, Dear Jack, Dear Louise is excellent value for money and would suit families, romcom fans, or anyone in need of a pick-me-up after a tough week. Written by two-time Olivier Award-winning playwright Ken Ludwig, it is a moving piece, and we would be remiss to view its story as irrelevant in the present day, given all the war talk and hopeless sentiment that surrounds us.
As Winston Churchill once said, “The future is unknowable, but the past should give us hope.”
Love,
Theatre Weekly
Listings and ticket information can be found here
